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THE MONTHLY

Jtaiml Irani

Volume L— 1871.

PUBLIC LIBRARY,

FITCHBUEG. MASS.

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IRARY
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7zo

INDEX

JAGE

Albert Hall, Royal 59, 67, 75, 107, 123, 137

Amateurs, The Influence of, on Musical Art .... 153

Artistic Conscientiousness

Auber

Dances, On, in connection with Pianoforte Music

Bach, Johann Sebastian

Bach's Passion Music at Westminster Abbey

Beats, The, of Imperfect Concords

Beats, The, of Chords and Subharmonics

Beautiful in Music, The ....

Beethoven Festival at Bonn

Beethoven's Symphonies, by Hector Berlioz

Beethoven's Trio, Op. 97 . .

112

18, 29

132

, 126, 141

13, 47
75

Chopin, Frederic . . 72

Churches, The Music of our 139

Clavecin, French Writers for the 16

Clavecin, Italian Writers for the 6

Clementi, Two Pupils of 29

Concerts :
Albert Hall, 67. Alwyn, W. C, 94, Bache, W., 94
Barnett, J. F., 37. Brixton, Monthly Popular, 24, 37, 52, 67
150, 165. College of Musicians, 94, 165. Crystal Palace
11, 23, 35, 50, 66, 81, 149, 163. Halle, Charles, 81, 94
Hiller, F., 52. Holmes's Musical Evenings, 37, 52, 164
Leslie's Choir, 37, 52. Macfarren, W., 82, 94. Modern
Music, Chamber Concerts, 52, 67. Monday Popular, 12,
23. 36, Sl> 66, 164. Monk, W. H., 165. Musical Union,
67, 81, 94. New Philharmonic, 67, 81. Opera, 12, 24, 37,
108, 122, 150. Oratorio, 36, 51, 67, 81, 164. Organ at
Albert Hall, 107, 123, 137. Philharmonic, 51, 67, 81, 94,
108. Sacred Harmonic Society, 11, 23, 36, 51, 66, 81, 165.
St. James's Hall, 12, 24. Schumann, Madame, 37. Smith,
Sydney, 82, 94. Stocken, Miss, 94. Zimmermann, Miss . 82

Concert Programmes 39

Conscientiousness, Artistic 13

Correspondence 33. 47, 146

Correspondence, Foreign, 7, 19, 30, 44, 60, 77, 90, 104,

118, 132, 147, 160
Curate, The, and the Organist 116

PAGE

■ 73

Education, Musical

Exhibition, International, Opening of

Fly-leaves from the Portfolio of an Old Schoolmaster 128, 143, 158
Foreign Correspondence (see Correspondence).

French Writers for the Clavecin 16

Future, The Music of the ......

Gloucester Musical Festival

I25

136

Handel Festival, The QO

Handel's Overture to the Messiah, Minuet in ... 102

Handel's Obligations to Stradella j^

Handel's Use of Urio's Te Deum jog

Harmonics, On ITc

Havana, A Theatre in X03

Historical Sketch of the Sonata iqo

Imperial Family of Austria, in its relation to Music and

Musicians . rj

Incidents of Franz Liszt's Youth .... 129, 145, 156

Influence, The, of Amateurs on Musical Art . . . • iSi
Influence, The, of Thalberg on the Present Generation of

Pianists gq

Instruments, Musical, and their Manufacture .... 43

International Exhibition, Opening of 75

Italian Writers for the Clavecin 6

Leading Articles :

Artistic Conscientiousness x-.

Concert Programmes '. . 39

Influence, The, of Amateurs on Musical Art . , jrq
Influence, The, of Thalberg on the Present Generation of

Pianists ........... ~ gg

Modern Organs, and Organ Playing XII

Music of our Churches, The Xog

Music of the Future, The 12e

Musical Education ro

Musical Narrowmindedness gy

Leading Articles [continued) :
Progress, The, of Music as an Art

Readers, To our

Tonic Sol-fa System, The, of Teaching Music

Leeds Town Hall Organ Performances

Letter, A, from Schumann ....

Liszt's, Franz, Youth, Incidents of .

Mendelssohn's Unpublished Symphonies
Mercadante, Saverio

Minuet, The, in Handel's Overture to the Messiah

Modern Organs, and Organ Playing

INDEX.

. 146
129, 145, 156

159

102

Music, The Beautiful in 87

Music of our Churches, The 139

Music of the Future, The 125

Musical Education 53

Musical Instruments and their Manufacture .... 43

Musical Narrowmindedness 97

Musical Notes 12, 24, 37, 52, 67, 82, 95, 108, 123, 137, 150, 165

Organ at the Albert Hall
Organ for Melbourne, Hill's .
Organs, Modern, and Organ Playing
Organist, The Curate and the

Passion Music, Bach's, at Westminster Abbey
Plea, A, for the Added Sixth
Programmes, Concert .....
Progress, The, of Music as an Art .

Readers, To our

Reporter, The Tonic Sol-fa, and our July Article

Reviews :
Alexander, J., 148. Andreoli, C, 106. Bach, J. S., 10
22, 34. Beethoven, 34, 120, 148. Berger, F., 121

. Beringer. O., 92. Boosey and Co., 23. Borschitzky
J. F., 93. Brahms, J., 48, 63. Bruch, M., 22, 33
Bulow, Hans von, 92. Chopin, F., 10. Clark, S., 49

107, 123, 137
122
in
116

102

114

dementi, 64. D'Alquen, Franz M., io." Deane, J. H., 121.
Ellerton, J. L., 93. Flotow, F. v., 119. Gade, N. W., 9.
Green, J., 92. Handel, 134. Haydn, 79. Hiller, F., 80.
Hopffer, B., 64, 105. Hopkins, E. J., 163. Horn, A., 10.
Hullah, J., 11, r62. Johns, F. W., 161. Kerbusch, L., 49.
Kiel, F., 120, 135. Kbhler, L., 106. Kreutzer, R., 120.
Liszt, F., 120. Mandel, C, 162. Mendelssohn, 135.
Mozart, 34, 48. Pauer, E., 34, 148. Prout, E., 49.
Raff, J., 92. Reinecke, C, 9, 120, 134, 135. Roeckel, J.,
10. Rubinstein, A., 21.' Schubert, F., 22, 23, 34, 64, 8o,
92, i2i, 135, 148. Schumann, R., 22, 65, 106, 162. Sheet
Music, 35, 50, 65, 80, 93, 107, 121, 135, 149, 163. Spindler,
F., 80. Stradella, A., 49. Tours, B., 148. Wagner, R.,
21, 79. Weber, C. M. von, 161. Wright, H. S. . . 34
Royal Albert Hall 59, 67, 75, 107, 123, 137

Schubert's Masses . . . 2, 13, 26, 39, 53, 69, 84

Schumann, A Letter from 146

Sketch, Historical, of the Sonata 100

Stradella, Handel's Obligations to . . . . * • *54

Symphonies, Beethoven's 97> I26, 141

Symphonies, Mendelssohn's Unpublished . ; . .159

Thalberg, Sigismund 76

Thalberg, The Influence of, on the Present Generation of

Pianists 69

Theatre, A, in Havana . . - 103

"/To be, or not to be " 93

Tonic Sol-fa Reporter, The, and our July Article . .114

Tonic Sol-fa System, The, of Teaching Music . . ' . 83

Two Pupils of Clementi 29

Urio's Te Deum, and Handel's Use thereof

139

Violetta *3*. x44

Westminster Abbey, Bach's Passion Music in ... 60

PUBLIC LIBRARY,

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Vol. I., No. i.]

JANUARY i, 1871.

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Articles of general musical history and criticism,
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which appears in this number, may be regarded as a
specimen of this class of contribution, of which it is
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In conclusion, we have only to add that, consistent
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prove to be worthy of approval and support, and with
the purpose of adding* to it from time to time any new
features which may enhance its value, we commit it to
the judgment of the public, and commend it to their
favour.

THE MONTHLY MUSICAL RECORD.

[Jan. i, 1871.

FRANZ SCHUBERT'S MASSES.

BY EBENEZER PROUT, B.A.

The interest which of late years has been increasingly
manifested by musicians and the public in the com-
positions of Franz Schubert — an interest which is chiefly
owing to the exertions of the directors of the Crystal
Palace Concerts, who have introduced many of his finest
works to the English public for the first time — renders
any apology for the subject of these articles superfluous,
more especially as the works to be noticed are mostly
inaccessible to the admirers of their author, from the
fact of their being published only in separate parts. The
scoring of the masses from these parts has been to me a
labour of love, and I believe I shall be able to show that
Schubert is not less distinguished as a sacred composer
than as the author of the songs which first established his
reputation, or of the orchestral and chamber music which
has since so largely added to his renown. .

There exist six masses by Schubert ; of these, how-
ever, only five are at present published in any form. It
is much to be hoped that some enterprising German
publisher will think it worth while to engrave the mass
in A flat, which still exists only in manuscript, as it dates
from the period of the ripest development of its composer's
genius. It was written in 1822 — about the time of the
B minor symphony — and is considered by those who know
it to be among the finest of its author's works.

The so-called " Deutsche Messe," composed in the
year 1827, is not properly a mass at all, but merely a
collection of short part songs for a male choir, the words
being a free paraphrase in German verse of the text of
the Romish service. It has been recently published in
vocal score by Spina of Vienna. Some of the movements
are very charming, but it is not a work which, either from
its extent or importance, requires a detailed analysis.

I propose in the present series of papers to examine
the five published masses in the order of their production,
and without further preface shall proceed to —

1. THE MASS IN F.

This mass was written in the year 18 14— according
to date on the manuscript, in the possession of Dr.
Schneider at Vienna — between May 17th and July 22nd.
Kreissle von Hellborn, in his Life of Schubert, says it has
never been engraved. This is an error, as it is published
in parts by Gloggl of Vienna. It was composed for the
centenary festival of Schubert's parish church of Licht-
enthal, in the suburbs of Vienna ; and as the work of a
lad of seventeen, is at least as remarkable an instance of
the precocity of genius as Mendelssohn's overture to the
<: Midsummer Night's Dream." Michael Holzer, the choir-
master at Lichtenthal, had been Schubert's instructor in
singing, and the high esteem in which he held his pupil
would render it probable that the commission to write
the mass for such an occasion was the result of his kind
interest. From the score of the mass in G, which Schubert
subsequently wrote for the same choir, it would seem that
the ordinary orchestra of the church was very^fsmall.

Doubtless, however, a full band was engaged for this special
occasion ; and one can imagine the delight with which the
enthusiastic lad would apply himself to his work, with
the additional incentive, so grateful to a composer, of
knowing that he would be able to hear the effects which
he had conceived.

The instruments used in the mass are (in addition to
the stringed quartett) oboes, clarinets, bassoons, horns,
trumpets, trombones, and drums. But Schubert knew
better than to lavish the whole of his resources at once.
With a moderation which cannot be too much com-
mended, and which it may be wished were more imi-
tated, he reserves his full orchestra for special effects.
It is only in the "Gloria" and the "Sanctus" that we
find it employed at all.

The " Kyrie " (larghetto J-, 94 bars) is of a quiet
devotional character throughout ; and it may be noticed
here that Schubert never commits the mistake of which
Haydn (as notably in his first and second masses) was
so often guilty, of setting the " Kyrie " to lively and even
jovial music. After two bars of prelude for the ^wind
instruments, the chorus enters pp.

01:

PJSB5

^..Jt?

Viol. 1.

Clar
PP

Fiol. 2
PP

gffi' "P-Jlg^

Fag.

^_vJ_.

Ky - ri - e, e - lei - son,

^g^-rgg^

Corni.

Bassi {Viola, all 8yo).

mmmm

iPi?W

N I

jtafc

Ky - ri - e, e - lei

&c.

-fftK— P +-P ^F*— *-£-:

The voices, it will be seen, are accompanied only by
the strings. After a full close for the chorus, six bars
later, a soprano solo enters, of great simplicity and beauty,
accompanied by one of Schubert's characteristic orchestral
effects, a sf for the horns, on the unaccented beat of the
bar.

Jan. I, 1871.]

THE MONTHLY MUSICAL RECORD.

Fiji. 1 2.

t<^- *k,-- — -a- J

Sop.

JS_J.

0 1 '■- — A —

=fs

Cor.£_ I
Ky - ri - e, e - lei

^^ 1

f -S -V1

Vs- 1

son. &c.

"C3"

Z?asii {Viola, all 8ra).

At the subsequent entry of the chorus, the music un-
expectedly modulates into D minor, and there is a pause
on the dominant of that key. Our space will not allow
the close analysis of each phrase, or there would be found
matter worthy of note on every page of the score. Two
more extracts, however, must be given. The first is the
tenor solo " Christe," followed by the same phrase, in the
minor, for three solo voices.

-a. * d J_J — 1 — L^=^-^ — 1 — i_

Fag.

Sop. Solo, Viol. 1 .

3P~f~ it f f1 "h>-1P^^

Viol. 2. ' r >

Chris te e - lei son

son. &c.

Chris - te, Chris - te, e
Viola

Basso Solo, & Bassi.

The second extract is the beautiful return to the subject
of the " Kyrie." The " Christe " closes in A minor, and
then follows this passage for the orchestra :—

^W^f

w^-

The theme of the "Kyrie" is then resumed with a florid
middle part for the second violins and tenors, and after a
repetition of the soprano solo, of which the commence-
ment has been quoted above, the movement concludes,
or rather, dies away in a faintly breathed prayer, the last
snatch of melody being passed along from one instrument
to another, till the oboe has the last word, and all is
silence.

Ob. 1.— ^

r< I Clar.l.-^ r J2J.J

Clar.T^
Cor.
Vtol.i.

a^S

Viol. 2.
Va,

2^°^/"^*"' T7

J- >.

l-J^j

Bassi.

JPZ

Fog.

The "Gloria" is the most amply developed portion of
the mass, being in no less than five movements. The

THE MONTHLY MUSICAL RECORD.

[Jan. i, 1871.

opening chorus (c major, allegro vivace E, 106 bars)
reminds one much more of Haydn's and Mozart's style
than most of the other portions of the mass. The music
throughout is broad and vigorous, the orchestral accom-
paniments bustling and spirited, but we find few of
Schubert's individual characteristics. Before passing on
to the next movement, however, the unusual employment
of the chord of the ninth just at the close of the chorus is
worth quoting. The whole orchestra accompanies the
voices in the unison and octave.

Vote

y—u.

P=£=f±p=£

OJ.

Glo - ri - a in ex - eel

A J.A A d

When the passage is repeated in the coda at the end of
the " Cum Sancto," the common chord of F is substituted
for the chords of the seventh and ninth above quoted.

The " Gratias" (f major, andante con moto, f, 81 bars)
is mostly a trio for soprano, tenor, and bass soli, the
chorus entering only at the close of the movement. The
subject (and a most graceful one it is) is first announced in
three parts in the orchestra by the two violins and viola,
an oboe solo entering at the cadence, and is then taken
up as a soprano solo, with quiet accompaniments for the
strings. Here are the first bars : —

.j, Vol. 1

Viola, Cello, unis

fe£

Ob. Solo.

I *

' *>_

rrfrT^y

f*=T3=fr=m=^^m

Cello.

The music is carried on in the same suave and melo-
dious manner till near the close, when one of those sudden
and characteristic changes of rhythm to which Schubert
was so partial is introduced.

Viola, Bassi.

At the next bar the chorus enters forte with the words
" Domine Deus, rex ccelestis." At the words " Domine
fili " the voices subside to a piano, and after a half-close
in the key of D minor the next movement follows.

" Domine Deus, Agnus Dei " (adagio, D minor, E, 24
bars). This is undoubtedly one of the most striking and
beautiful numbers of the mass, but unfortunately it is im-
possible to give any adequate idea by an extract without
writing out the score in full, for which there is not space
in these columns. The solo voices first utter the words
of the prayer singly, the whole quartett uniting at the
words " qui tollis peccata mundi," the response " miserere

Jan. I, 1871.]

THE MONTHLY MUSICAL RECORD.

nobis" being taken up by the subdued chorus. This
might be quoted, but a very imperfect idea of the charming
effect would be obtained, unless one also quoted the
orchestral accompaniment, in which a quartett of reed
instruments (two oboes and two bassoons) is answered
by a quartett of brass (two horns and two trombones),
pianissimo, an anticipation of the magical effects which
Schubert some years later obtained from the brass instru-
ments in his " Rosamunde " music and his B minor sym-
phony. The whole adagio is conducted in the same lofty
vein to the end, the only drawback to it being that it
makes the following movement sound rather flat by com-
parison. The " Ouoniam " (c major, allegro E, 20 bars)
is little more than a prelude to the amply developed fugue
that follows— "Cum Sancto Spiritu" (c major, allegro
vivace G> 184 bars). The bold subject is first announced
by the basses, with a florid accompaniment for the violins,
which is sustained incessantly through the movement.

^P^

Viol. 1.

Basso, e Bassi

:s>=

Cum Sanc-to Spi - ri - tu,

£5$

in glo_-ri-a De - i Pa •

steals

Cum Sanc-to, &c.
Ten. I 1 I

— ^ — . —

tris. A - men, A

Though full of spirit and motion, this fugue can hardly
be called great in respect of workmanship. Schubert's
forte was, like Beethoven's, not in the strict style, and of
this he seems to have been aware himself, for there is
remarkably little fugal writing in his masses, though we
shall meet with some most beautiful canons. Excepting
the mass in E flat,' there is no other in which the " Cum
Sancto " is treated as a fugue. A very brilliant and some-
what lengthy coda [concludes this portion of the work.
There is one passage in it which deserves quotation on
account of the remarkable enharmonic modulation, remind-
ing one of Beethoven, and yet not exactly in his manner.

r-' 01-.,

< *r t t 1* *r *r <

PP Viol. 1.2.

Sop.

Tt:

— *=*■-&-

Aito. r

Cum
Ten. Bass.

J- JfPP

Bassi. Frtg.

if if

^WfWfWfWf

Tromle, colla voci.

T2Z

T±

glo

-1 T

i-^r-

-<s> <S>-

•r t t -r -r

THE MONTHLY MUSICAL RECORD.

[Jan. I, 1871.

The peroration is the same, with some slight amplifica-
tion, as that of the first movement of the " Gloria," and
brings this portion of the work to an effective termination.

{To be continued.)

ITALIAN WRITERS FOR THE CLAVECIN.

EXTRACTED FROM A LECTURE AT THE SOUTH KENSINGTON
MUSEUM.

BY E. PAUER.

THE first indications of proficiency on the Spinett, or
" Instrumento da Penna," are to be found in Venice.
Here, as everywhere else, the organists were the chief
performers on the spinett, and as the mighty republic
for a long time patronised the organ music of San Marco,
it is easily understood that the most richly gifted and the
most genial Italian musicians were anxious to obtain the
honourable and highly influential appointment as " Organ-
isto di San Marco."

In 1550, Girolamo Parabasco was known as the best
performer on the spinett. About the same time young
ladies were evidently desirous to reckon among their
accomplishments that of performing well on the " instru-
mento da Penna." I will quote a letter of the poet, Pietro
Bembo, in which he writes to his daughter Elena, who had
asked his permission to take lessons : — " Concerning your
wish to take lessons on the spinett, I beg to say (you
being too young to understand it) that performances on
such instruments are only suited for vain and coquettish
persons. My desire is that you should be a modest and
amiable girl. It would give you little pleasure to play
badly or indifferently, neither would it be desirable to
play really well. You should devote at least ten or twelve
years to it, and practise all that time steadily and
assiduously, without thinking of anything else. If your
friends wish to be amused by your playing, tell them you
do not like to make yourself ridiculous. After all, my
dear child, be satisfied with the sciences and — your
needlework."

So runs the letter of Signor Pietro Bembo, written in
1 52 1. What a blessing for us poor professors of music
that present papas are not quite so strict, and do not fear
their daughters will become vain or coquettish by taking
pianoforte lessons !

Besides Parabasco, the most distinguished performers
and composers were at that time Claudio Merulo and
Andrea Gabrieli. The nephew of the latter, Giovanni
Gabrieli, however, effected more in developing a regular
instrumental style than any of his predecessors. It has
been already mentioned that the performers on the spinett
were organists, but it must not be imagined that at the
time of Parabasco and Claudio Merulo the style of organ
compositions was at all like what it became under Bach
or Handel. The pieces played generally resembled sacred
compositions. A regular figurated style was not yet known.
The compositions were for the most part " Suonate di
Chiesa," or Church Sonatas. We must take care not to
accept the term sonata in the modern sense. The word
Sonata itself merely comes from suonari, " to sound." Our
Sonata is a later invention. Gabrieli soon found that
grave forms, such as the Motettos, had something mono-
tonous about them, and that the organ as an instrument
was capable of giving a greater variety. He therefore
adapted the shorter form of the Canzones. To show what
a step forward this was, I quote the opinion of a German
contemporary, Michael Praetorius, who states in reference
to Giovanni Gabrieli's compositions, " His sonatas are set
in a grave and splendid manner, like motettos ; but his

canzones move with so many black notes, in such a
cheerful, free, and quick way." This was about 1570. We
may, then, admit that towards the end of the sixteenth
century instrumental music began also in Italy to acquire
an independent existence.

If Gabrieli felt the necessity of forming another style, it
was decidedly Girolamo Frescobaldi, born at Ferrara in
1591, who profited by this innovation, and, aided by a
singularly good taste, improved upon Gabrieli's changes.
Frescobaldi was one of those highly gifted men who form
an epoch in history. Such men stand out as signal-posts
to show the road. It was as an organist he made his
fame. If reports are to be trusted, he played once in the
Vatican of Rome before 30,000 people, and gained by his
splendid performance the title of the " Hercules of Music."
In 1618 he published his great work for the spinett, com-
prising Ricercatas, Canzone, Fantasias, Toccatas, Cap-
riccios, and Partitas. This interesting collection contains
pieces in which the first indications of a certain freedom of
treatment are discernible. In a Capriccio, for instance, he
treats a subject with a thoroughly characteristic expression.
We further find a Capriccio di durezza, full of discords.
We meet with a Capriccio cromatico, founded on the
chromatic principle. In his Canzones we find (for the
first time in this form) a tune worked out regularly
through the whole piece.

Frescobaldi was also famous as a teacher. From far and
near zealous pupils came to profit by his advice. Among
the most distinguished was John Jacob Frohberger, with
whom we shall meet when treating of the German com-
posers.

Domenico Scarlatti, who, with Muzio Clementi, was the
most important Italian composer for our instrument, was
the son of the great Alessandro Scarlatti, who has nothingto
do with our subject, his compositions being mostly vocal.
Domenico was born at Naples in 1683, and was first taught
by his father's friend Gasparini. In 1709, after having de-
lighted every one with his wonderful playing, he went to
Venice, where he met Handel, whom he so much admired
that, to have the opportunity of hearing him more often, he
followed him to Rome. In 1715 he was appointed "Maestro
di Capella di San Pietro," but only remained there for
four years, when he left for London, where he was most
agreeably received, and remained until 1723. He once
more returned to Rome, where he astonished every one by
his wonderful technical execution, at that time unequalled.
He ultimately accepted an appointment at court in Madrid,
was ennobled, and died there, universally respected, about
1760, a year after Handel's death. We have upwards
of 300 pieces by Scarlatti, and any one who may be
anxious to make a more than superficial acquaintance
with this original composer's works has no difficulty in
doing so, as there are four complete editions published.
Scarlatti calls his compositions Sonatas, Studios, Capric-
cios. The form of the whole Sonata is actually the form
of the first movement of the present Sonata. The Sonata
of Haydn, Clementi, Mozart, Beethoven, Weber, consists
of three or four movements. Scarlatti's pieces are all
original and full of life, replete with technical difficulties,
and bright ; but in purity of writing and in charm of
harmonious changes they are sadly deficient. It will
strike you that therels a continuous " tinkling " about them,
which sometimes reminds of the " hurdy-gurdy." This
may arise from the frequent use of the pedal bass. Schu-
mann, one of the most intellectual crjtics we ever had,
referring to Scarlatti, remarks, " Scarlatti has much that
is excellent and that distinguishes him among his con-
temporaries. The mailed style (if we may so speak) of
a John Sebastian Bach is not to be found in Scarlatti.
He is far emptier, more rhapsodical and superficial, and

Jan. I, 1871.]

THE MONTHLY MUSICAL RECORD.

often so quick in tying knots and untying them again,
that it is difficult to follow him. His style is, for his
time, short, piquant, and pleasing ; but although his works
hold so important a place in musical literature, we must
own that there is much in them that can no more please
us." So far Schumann. Scarlatti, in the preface to his
works, says :—" Reader, professor, or amateur, whoever
thou art, do not expect a profound intention in these
pieces. For me there is no other rule in music worthy
of a man of genius than to please that sense whose object
music is." It may be here observed that if all composers
had thought so, it would be impossible for our art ever to
have reached the high degree of perfection to which it
has attained. I must just draw your attention to a point
worthy of your notice. Scarlatti was so impressed with
the genius of Handel, whom he met, as previously
mentioned, in 1704 in Rome, that he followed him to
several other towns, and showed ?him in an unmistakable
manner his sincere attachment. In the house of Cardinal
Ottoboni, a competition between Handel and Scarlatti
took place. A contemporary says that Scarlatti possessed
complete mastery in tender passages, in a charming
playfulness ; had a rich, sometimes even an extravagant
fancy, and could develop his ideas in an excellent
musician-like manner. But Handel had, in addition to
all this, something splendid, eminently brilliant and
sparkling in his performance. What struck the Italian
audience most was the polyphony and force of the
German's playing. In Bach's biography we read that
he was well acquainted with Scarlatti's works, and very
partial to them.

I must mention, for the sake of completeness, that among
the Italian clavecinistes after Scarlatti were Domenico
Zipoli, a clever organist of Rome, the celebrated amateur
Benedetto Marcello, who owes his chief fame to his
Psalms, and Francesco Durante. There are six sonatas
known of his compositions, divided into studies and
divertimenti. Baldassaro Galuppi, a Venetian, generally
esteemed as a clever opera writer, contributed to the
library of the Clavecimbalo about twenty sonatas. The
famous Padre Martini of Bologna, who plays such an
important part in Mozart's earlier life, left us twelve
excellent but somewhat dry sonatas. Pietro Domenico
Paradies, of Naples, published in 1746 a series of most
charming Sonatas. In justice to Paradies, it should be
stated that Clementi held his pieces in great respect, and
practised them with the utmost attention.

tfortisn Corttspmttreme.

MUSIC IN NORTH GERMANY.

(FROM OUR SPECIAL CORRESPONDENT.)

Leipzig, Dec, 1870.

In spite of the war which Germany is at present compelled
to wsge, the opening of our musical season has been even
richer and more brilliant than in former years. Besides
the very great number of regular concerts, all the principal
musical societies have arranged performances for charitable
objects. These concerts have, through the combination
of forces which otherwise do not work together, produced
quite exceptional results. In consequence of the unusual
quantity of material, our present notice can only be very
brief; and, leaving a chronological record of musical
events, we must confine ourselves to mentioning the most
important of the rich material presented to us.

Early in October the series of renowned concerts of the

Gewandhaus at Leipzig was commenced. Before speak-
ing of the two new works produced for the first time — a
symphony by Max Bruch, and Kalamts, a small secular
oratorio by Gade — let us mention that all the orchestral
performances were of remarkable perfection. The band
was no less excellent in its discreet accompaniment of
the solo music, both vocal and instrumental. The sym-
phony of Bruch was throughout unfavourably received by
the public, and obtained also from critics a very harsh
judgment. With no wish of lauding the work, and with-
out venturing to maintain that the symphony left an
especially favourable impression on us, we are still unable
to concur in the general condemnation. The first move-
ment at least deserves, to our thinking, juster appreciation.
Built upon two not very long, indeed, but thoroughly
pregnant motivi, it presents a number of ingenious com-
binations which mostly sound well. If the movement
does not succeed in producing the exciting impression of
a genuine work of art, the reason is that here not the
living power of a truly creative fancy comes forward, but
only the intelligent reflection of a talent experienced in
all the resources of art. Clever, but less attractive, were
the andante and finale, which follow the first allegro.
The symphony contains no scherzo. The performance
on the part of the orchestra, under the direction of the
composer, showed great mastery, and certainly bore none
of the blame for the more than cool reception of the work
by the public.

Gade's latest work, Kalanus, performed, at the sixth
Gewandhaus Concert, does not rise above that master's
other productions for the last fifteen years. From the
moment when Gade forsook his own special tone-world,
from the moment when his compositions lost their specific,
northern, Scandinavian, saga-like colouring, we have no
longer to note his original tone-pictures in their youthful
freshness, as he gives them in his first symphonies, in
his Erl-Konig's Tochter, in the FriMings-fantasie, and
other works. Far from his original sphere, in the domain
of the Indian and Grecian myth, moves Andersen's poem.
It was as little possible to the poet as to the composer,
to give to this poem dramatic life. The score contains
many fine traits, but it nowhere attains a clear character-
isation of persons and situations. The single numbers of
the work, too, suffer from an empty formality, not often to
be met with in Gade's music. Only in a few places in this
composition does he rise above the well-sounding and
becoming. These pieces, the opening chorus of the first
and the concluding chorus of the second part, are un-
questionably of remarkable beauty. The performance of
the composition, by chorus and orchestra, was equally
excellent ; the solo parts were admirably given by Frau-
lein Mahlknecht, Herr Gura, and Dr. Gunz.

At the extra concert for the benefit of the International
Union, by the Gewandhaus orchestra, a new " Fest-
Ouverture," by Carl Reinecke, was extremely well re-
ceived. The piece fully merited its success, through its
rich and vigorous invention, set forth to the best advan-
tage by brilliant instrumentation.

As instrumental soloists we heard at the Gewandhaus,
among others of less note, Frau Clara Schumann, and
Herren Joachim, and Tausig. As regards the perform-
ances of all three the critic's work is superfluous. We hardly
know to which the palm should be allotted, they have so
excited our admiration. Frau Schumann played Beetho-
ven's concerto in G with a truly ideal perfection, such as we
never remember to have heard either from her or any othen
player. Joachim played the violin concerto of Beethoven,
and the "Chaconne" of Vitali, edited by David. Both
performances were imbued with the highest devotion to
art. Tausig, through the never-failing power and accuracy

THE MONTHLY MUSICAL RECORD.

[Jan. i, 1871.

of his execution, as well as through the manly earnestness
of his style, gave full effect to Chopin's E minor concerto, of
late but seldom performed.

Among the ladies who have appeared at the Gewand-
haus concerts, Madame Amalie Joachim (wife of the dis-
tinguished violinist) and Frau Peschka-Leutner deserve
the principal mention ; also a young Fioritura singer,
Frl. Gips, from Holland, has appeared with success.

The concerts of chamber music in the Gewandhaus are
this year specially interesting, through select programmes
and excellent performances. Riedel's choral society gave
on the fast-day a most careful performance of Beetho-
ven's Missa S olenitis.

By far the most interesting novelty was presented us
by the Leipzig Opera in Richard Wagner's Meistersinger.
In Germany this opera has, for the first time, found a
thoroughly favourable reception at Leipzig. Not a little
of this complete success is due to the fact that a number
of " cuts " has been made with good taste, especially in
the very long recitatives. Of the work itself we cannot
speak at length. Without ranking as high as Lohengrin,
it is, next to this opera, Wagner's most important work.
Every eminent work bears in itself its own standard of
measurement ; and so, too, the Meistersinger must be
judged by its own nature, and not by comparison with
art-works of other composers, and of other times.
Although essentially a consequence of Wagner's theory of
the musical drama, Die Meistersinger has wonderful
passages, considered merely from a musical point of view,
which charm as much through truth and depth of expres-
sion, as through beauty and symmetry of the musical
form. That these parts contain the most successful scenes
of the opera, shows very plainly how untenable Wagner's
theory of the musical drama is. Exactly where his
genius throws off the fetters he has forged for himself, he
works with most striking effect. The opera was admirably
"got up" in Leipzig under Capellmeister Schmidt; and
Frl. Mahlknecht as " Eva," and Herr Schmidt, through
his impersonation of " Hans Sachs," especially dis-
tinguished themselves in the performance.

Among the great number of concerts at Berlin, we
notice the splendid performances of the Domchor,* which
we lately also heard in Leipzig. Equally grand was the
concert of the choir of the Royal Chapel in the Opera
House, for the benefit of the " Konig Wilhelm's Verein."
Only the performance of the 9th Symphony of Beethoven
suffered from unsteadiness of the temps, which arose
from the unfavourable situation of the chorus behind the
orchestra, and separated from the soloists. The " Sing-
akademie " gave a very worthy performance of Handel's
"Judas Maccabaeus," which immortal work was also given
at Bremen on the iSth of October, and at Coin on the
22nd of November.

Of the Subscription Concerts at Dresden, Breslau,
Schwerin, and other chief towns of North Germany, we
have nothing but favourable reports to make. Every-
where a really gratifying artistic activity is developing
itself. The music trade, too, notwithstanding the war, is
in no way declining. The Bureau de Musique of Peters
at Leipzig is rendering especial service in the spread of
classical music. The " Edition Peters," issued by this
firm, contains nearly all the classics, in the cheapest and,
at the same time, most correct form, under the careful
revision of the highest authorities. The richest col-
lection of classical masterpieces can scarcely be better,
and more judiciously diffused among the great public,
than is done in the " Edition Peters."

In the midst of the momentous events at present taking

* The cathedral choir.

place, Germany intends to celebrate, next week, a festival
of peace — the 100th birthday of Ludwig von Beethoven.
All important musical towns are preparing grand per-
formances. We will speak of them in our next letter.

MUSIC IN VIENNA

(FROM OUR SPECIAL CORRESPONDENT.)

Vienna, i$th Dec, 1870.

The attention of the musical public on the Continent
is at present principally directed to Vienna. The most
important towns, as Berlin, Dresden, Munich, and others,
are too much agitated by the events now occurring to be
able to devote themselves calmly to music. With Paris,
which is and probably will always remain the centre-
point of France, art is now out of the question ; she only
thinks of defence. Vienna is the quieter by contrast.
Concerts and operas are well attended; and at the
present moment we are about to celebrate the memory
of the great master, Beethoven, who, born a hundred
years ago, spent the largest and most important part
of his life in our city.

For the last six weeks our musical unions and societies
have been kept alive by numerous concerts, quartett
soirees, &c. The " Gesellschaft der Musikfreunde "
(Society of Friends of Music), called also " Musik-
verein" (Musical Union), gave their two first subscrip-
tion concerts. At the first Handel's Israel was per-
formed, with Mendelssohn's organ accompaniment. As
the large organ built by Ladegast, for the great concert-
room of the " Musikverein," is not yet finished, a smaller
one took its place. It was for the first time that the
Viennese had the opportunity of hearing an oratorio in
this form, and it could not fail to produce all the more
impression. The powerful choruses were executed by the
" Singverein " (Choral Society), which numbered more
than 300 voices. This " Singverein," closely connected
with the " Musikverein," was originated by Herbeck, who
during eleven years was its director, and raised it to a
height which rendered rivalry impossible. Jos. Hellmes-
berger has succeeded to Herbeck's place as director of
the concerts, and E. Franck (formerly director of the
opera-chorus) as leader of the " Singverein." In the
second concert the overture to Medea, by Cherubini,
aria from the Creation, sung by Mdlle. Anna Regan,
the 13M Psalm, by Liszt, and the music to the
Ruins of Athens were performed. It is a pity that
Vienna is only acquainted with the overture to Medea j
the opera itself has not been given for the last fifty years.
Mdlle. Regan, a pupil of Madame Ungher-Sabatier, sang
for the first time in Vienna. Her method of singing was
fully appreciated, but she failed in warmth. She was,
however, on the whole well received. The Psalm was new
to Vienna. Choruses and a tenor solo alternate in it. The
composition is exactly in Liszt's own particular manner.
It has several points of interest and genius, and requires
particularly a careful execution of the tenor part. It was
sung with great success by Herr Walther, of the Opera.

The " Singakademie " (Vocal Academy), which was
founded at the same time as the Singverein in 1859, per-
formed in the great Imperial Redoutensaal Handel's
Athalia. R. Weinwurm has the merit of having directed
this first-rate performance of a work which has not been
heard in Vienna since the year 1837. This society merits
much praise for its performance of many great works, as,
for instance, last year Handel's Act's and Galatea, and
Gliick's Orpheus.

The concerts of the Philharmonic Society, formerly in the
old Opera House, are now held in the splendid Hall of the

Jan. i, 1871.]

THE MONTHLY MUSICAL RECORD.

Musikverein. These concerts, founded in the year 1842
by Otto Niolai, have been conducted since i860 by Otto
Dessoff, one of the directors of the opera orchestra. Here
are to be found the real lovers of music, and their opinion
is held in Vienna for decisive. The orchestra is the same
as that of the opera ; J. Hellmesberger takes the lead of the
violins. The execution is excellent, and can be compared
with your distinguished orchestra of the Crystal Palace.
There are eight subscription concerts during the season.
The compositions performed in the first three concerts
were : the overtures to Euryanthe, Meerestille und
gluckliche Fahrt (Calm Sea and prosperous Voyage),
Abencerragen, Camaval rotnain and Zum Blonden
Eckbert, by Rudorff. The last piece, poor in invention,
did not please. The concertos for piano, by Beethoven,
in G major and C minor, were performed by T. Epstein
and the blind T. Labor accurately, and in the spirit of the
composer. Four symphonies were executed : Schumann
(No. 3), Haydn (c major), Julius Zellner and Schubert
(c major). The one by Haydn has been recently pub-
lished in score by Ricter-Biedermann in Leipzig, and met
with a splendid reception. It may be recommended here
to the notice of the conductors in England. Zellner's
symphony will be published by Gotthard in Vienna, and
will not fail to be known elsewhere as it merits. Zellner
is a talented and unpretending musician ; his work shows
earnest endeavour after the highest, and was, therefore,
very favourably received. Your Monday Popular Con-
certs are represented here by the quartett-soire'es by
Hellmesberger, regularly given every season since 1849.
The merit of having introduced Beethoven's last great
quartetts to Vienna is due to Hellmesberger. For the
last three years we have had also the " Florentiner Quar-
tett" (Jean Becker and his colleagues), who give every
winter about eight performances, frequented by a large
audience. We have had but few concerts of virtuosi ; it
only remains to be mentioned that the well-known pianist
Th. Leschetizky gave two concerts, in which his wife
assisted as vocal performer, both with favourable results.
We now turn to the opera.

The old Opera House has been totally closed. The last
performance was Tell, on the 18th of April. Since
that time the decorations and all the superfluous cos-
tumes have been sold. On the advantages and defects
of the new Opera House much has been written. To both
we have become used, also is the public more lenient to
the much-criticised acoustic properties of the building.
It is a house for great operas and splendid ballets ; the
ope"ra comique will never be at home there. Twenty-six
operas and eight ballets have been mis en scene hitherto.
Wagner's Meistersinger was new, and has been per-
formed eleven times. Notwithstanding the large number
of the opera-corps, it would be difficult to give such
operas as Rienzi and Barbiere di Siviglia; on the other
hand, for some parts there are three and four performers,
and one is therefore not compelled to press hard on
individual singers. In Vienna one would be astonished
to hear of the demands made upon your admirable Mdlle.
Titiens. For the most part the decorations and costumes
are very brilliant, though some of the effects may be pro-
nounced to be too striking. A retrospect of the representa-
tions from the 1st September — the recommencement after
the holidays — till the middle of December will give the best
proof of the activity of the management. Of Meyerbeer's
operas, L'Africaine, Huguenots, Robert, Prophete (together
seventeen evenings) ; Mozart, Don Giovanni, Zauber-
Hote, Marriage of Figaro (eleven evenings) ; from Wagner,
Tannhixuser and Lohengrin (six times). Then the
operas, Mignon, La Juive, Faust (each five times) ; Frei-
schutz, Tell, Era Diavolo (each four times) ; Romeo and

Juliet (three) ; Norma, Joseph and his Brothers, Lucia
(each twice) ; Fidelio, Armida, Maskenball, Martha
(each once). The first tenor was sung alternately by
Walther (lyric parts), Muller, Labatt ; baritones — Beck,
Bignio, Mayerhofer ; bass — Dr. Schmid, Rokitansky,
Draxler, Hablawetz. First soprano — Wilt, Ehnn, Dust-
mann, Friedrich-Materna, Rabatinsky ; second parts —
Tellheim, Boschetti, Siegstadt ; alto — Gindele. The
engagement bf Mdlle. Minnie Hauck was very success-
ful ; she has a very good method of singing and acts
excellently. Herr Zerlina in Don Giovanni and Era
Diavolo, and Susanna in Mozart's Figaro are magnificent.
A change in the management, expected now for some
months, seems likely to be fulfilled. Director Dingelstedt
would then take the management of the Burg-Theatre,
and Herbeck, the first " H of kapellmeister " (appointed
28th of April as " musikalischer Beirath " and director of
the " Musikkapelle"), would succeed Dingelstedt as sole
director of the opera. In my next report you will probably
hear that this change has taken place. I shall also send
you a full account of our Beethoven Festival.

$Ubftto&

Overture to the Operetta aDer vierjiihrige Post en." By
Carl Reinecke. Op. 45. (Full Score.) Leipzig :
Breitkopf and Hiirtel.

In this country Herr Reinecke is probably better known
as a pianist, from his performances at the Crystal Palace
Concerts, the Philharmonic Society, and elsewhere, than as
a composer, although some of his works have been heard
from time to time at Sydenham — notably a very charming
entr'acte to his opera King Manfred, which has been
more than once played there. But in Germany he takes
even a higher position as a composer than as a player,
and any unprejudiced person who examines the score now
under notice will admit that his capacities are of no mean
order. Without being able to credit him with that indi-
viduality of style which is the special characteristic of the
highest order of genius, we can say that this overture shows
a thorough mastery of classical form, and that perfect
knowledge of the resources of the orchestra which is the
natural result of the composer's long experience as a con-
ductor. The subjects, too, are all well chosen and
pleasing, and there is none of that straining after effect
which is so often unpleasantly noticeable in modern
compositions. Our space will not. admit of a lengthened
analysis ; we can only say that the work consists of two
movements, an elegant andante pastorale in C major, -|
time, leading through an accelerando to a very animated
presto. The work is well worthy of a hearing ; and some
of our concert directors might include it with advantage
in their programmes.

Kalanus : a Dramatic Poem. By Carl Andersen.
Music by Niels W. Gade. Op. 48. (Full Score
and Vocal Score). Leipzig : Breitkopf and Hiirtel.

There will probably be many of our readers who have
never heard of Kalanus ; it may, therefore, be as well to
state that he was an Indian philosopher, who followed
Alexander the Great during his travels through India,
according to the libretto of the work now before us,
because, in consequence of his splendour, he mistook him
for the god Brahma. Discovering, from Alexander's
ordering the burning of Persepolis, that he was a mere
mortal, and subject to human passions, Kalanus was so
disappointed that he committed suicide by burning

THE MONTHLY MUSICAL RECORD.

[Jan. i, 1871.

himself alive. Such a subject for a cantata does not at
first sight appear very promising ; but the most has been
made of the materials, and the composer has successfully
endeavoured to give an Oriental colouring to the music.
The work is divided into three parts, the first of which is
occupied by the meeting of Alexander the Great and
Kalanus ; the second by the feast, at which the former,
instigated by Thais-, gives orders for the destruction of
Persepolis ; and the third by the death of Kalanus. As
most musicians know, Herr Gade is a disciple of the
Mendelssohn school. His melodies are flowing and
original, but a general resemblance to the style of the
author of the " Scotch Symphony " is noticeable, more
or less, through the work, and yet there is a difference
of tone-colour, a kind of Northern character about the
whole, which leaves an impression of its own. Among the
best numbers of the cantata may be specified the opening
three-part chorus (for soprano, alto, and tenor) " O mildes
Licht," in A major, in which the melodies are most grace-
ful, while the treatment of the orchestra is truly charming.
Indeed, throughout the work the scoring is masterly, often
also highly ingenious and novel. One of Herr Gade's
favourite contrivances is the sub-division of the string
band. Thus, in one movement (No. 5) we find a bass
solo accompanied by the strings in no less than ten parts.
The march and chorus (No. 2), " Heil Alexander," is very
bold and brilliant, and the orchestration is so rich that it
would make a most effective piece even without the
voices. In the second part of the work (the Feast) Thais'
two solos, interspersed with chorus (Nos. 7 and 8), are
charming, more especially the first one. The brilliant
chorus, No. 9 in E flat, f time, is also admirable— jovial
in tone, as a drinking chorus should be, without ever de-
generating into vulgarity. It is, however, like some other
numbers, open to the objection of being a little too much
spun out. In the third part, the opening chorus in A minor,
" So fern, so fern, von Ganges Strand," is not only one of the
best movements in the whole cantata, but also that in which
the Northern colouring already referred to is most dis-
tinctly perceptible. And now, having said thus much, we
must also in justice add that there are several parts of the
work in which the interest depends more on the treatment
than on the idea. Such, for instance, are the finales to
the first and third parts. Finished workmanship is every-
where apparent ; but the subjects are not very striking.
On the whole, however, Herr Gade has produced in
Kalanus an important composition, which, if it does not
add much to, will certainly not detract from his already
well-earned reputation.

Crosse Passionstnusik nach dem Evangelisten Matthaus,
von Joh. See. Bach. Vollstandige Clavierauszug
zu 4 Handen, von August Horn. Leipzig : Bartholf
Senff.

TO the numerous admirers of Bach's wonderful genius,
this arrangement for four hands of his greatest work will
be heartily welcome. It is, as far as practicable on the
piano, a most faithful reproduction of the original. Of
course it is impossible for any arrangement to do full
justice to the wondrous interweaving of harmonies which
is so distinguishing a characteristic of Bach's music ; but
all that could be done in this way has been done by the
present arranger. 'The work is quite complete, the re-
citatives being given entire. A valuable feature of this
edition is that the whole of the words are printed with the
music. We can cordially recommend this arrangement
as being, in the absence of a full score, perhaps the
substitute which will give the most adequate idea of the
beauties of the original.

Chopin's Eighteen Nocturnes, for the Piano. Edited by

E. Pauer.
Chopin's Forty-three Mazurkas, for the Piano. Edited by

E. Pauer. London : Augener and Co.
It will be generally admitted that Chopin was a man who
was great in small things. In short pieces he was almost
invariably successful, while his larger compositions are,
with a few exceptions, more or less laboured and dry.
There is no occasion, now, to examine the reasons of
this ; about the fact there will be little dispute. The
volumes now under notice show him at his best. Perhaps
his own individuality of style is most apparent in the
Nocturnes, while the national Polish tone is most clearly
reflected in the Mazurkas. Most of our readers who are
pianists will be familiar with at least some of these
pieces ; and we believe there are very few, knowing some,
who will not wish to make the acquaintance of the rest.
To such the present edition will prove a boon, as it is
most convenient in size ; and the notes, though small, are
particularly clear, the page not being over-crowded.
Though published in London, the works have — it is
evident from the type — been engraved in Germany ; and
it is well known how far German music printing surpasses
the best English, both in beauty and distinctness. The
name of Herr Pauer on the title-page is a suftcient
guarantee for the careful and musicianly editing of these
collections.

Wild Flowers : Six characteristic Pieces for the Piano-
forte. By Franz M. D'Alquen. Augener and Co.
It is somewhat startling to take up a piece of music, and
find it entitled " Lonicera Caprifolium," while a companion
piece bears the almost as alarming title, " Myosotis Pa-
lustris." It is true that on examination these dreadful
words turn out to be nothing more formidable than the
botanical names of the Goat's-leaf Honeysuckle, and
the common Forget-me-not ; still, after such titles, we
naturally looked for. something very formidable inside the
covers, and it was quite a relief to find that these " Wild
Flowers," in spite of their dreadful names, are really six
charming little sketches for the piano. Mr. D'Alquen
evidently writes because he has something to say. The
pieces tefore us contain not merely passages for the
players, but ideas ; and they will be likely to find favour
with any who are in search of music that is short, not too
difficult, and thoroughly pleasing. They will also be
found -\ ery useful as teaching pieces, as they require much
attention to phrasing to do justice to them, and (like most
music that is worth playing at all) will be utterly spoilt
by a clumsy or slovenly performance. Perhaps the best
piece of the set is No. 6, in F minor, which is particularly
graceful and elegant ; but Nos. 2 and 3 are very little
inferior, and it is quite possible that by some players they
might even be preferred. It is a pity, we think, that the
author has indulged in the affectation of giving such
extraordinary titles to his pieces ; on the other hand, it is
pleasant to have no fault to find with these sketches
except their names.

Impromptu Caprices pour Piano. Par Joseph L.

Roeckel.
Evening Thoughts {Abend- Lieder) : Three Musical

Sketches for the Pianoforte. By Joseph L ROECKEL.

London : Augener and Co.
These two sets of drawing-room pieces are evidently the
productions of an experienced and accomplished writer.
There is no unfinished workmanship in them; the harmony
is excellent, and the passages lie well under the hand, and
are grateful to the player. The four " Caprices" remind
us in their general style of Schumann's pianoforte works.

Jan. I, 1871.]

THE MONTHLY MUSICAL RECORD.

There is nothing which is directly borrowed, or even
imitated, from that author; we may say (paraphrasing
a remark of Von Lenz) that Herr Roeckel has ideas of
his own, but expresses them in the language of Schumann.
The " Scherzino" in D minor (No. 2) is particularly pleas-
ing ; but the " Berceuse" and " A la Valse" (Nos. 1 and
4) are, we think, nearly equal to it. The " Melodie "
(No. 3) is the least successful of the four, having less
distinctly marked character than the rest of the series.
The " Evening Thoughts " are less in the style of Schu-
mann than the " Caprices," and more suggestive of Men-
delssohn's " Lieder." While all are very good, we can
especially recommend No. 2 in D minor, which is most
elegantly harmonised, and contains some capital modula-
tion. While varying in difficulty, all these pieces are
within the power of moderately good players.

The Singer's Library of Concerted Music. Edited by

John Hullah. London : Ashdown and Parry.
THIS admirable collection of part songs and other choral
pieces (originally published, if we are not mistaken, by
Messrs. Addison and Co.) is so well known to choral
societies, that recommendation on our part is almost super-
fluous. It includes not merely many old-established
favourites, but a large number of pieces written expressly
for it by some of the first living English musicians. The
present publishers have, we think wisely, determined on
continuing the series ; and the recent numbers which lie
before us are, on the whole, quite equal in merit to then-
predecessors.

Concerts:, $cu

CRYSTAL PALACE SATURDAY CONCERTS.
This most admirable series of concerts, which has now
become, we trust, a permanent institution, has been con-
tinued during the last three months with the usual success,
under the able conductorship of Mr. Manns. The past
year being, as our readers are aware, the centenary of
Beethoven's birth, performances of his principal works
have formed an important feature in the series of concerts
just brought to a close. Especially interesting has been
the production in their regular order of the whole of his
nine symphonies. How these glorious works are played
by the Crystal Palace band is well known to all frequenters
of the Saturday concerts ; it is, therefore, needless to en-
large on the precision, spirit) and delicacy characterising
their performance. In music of this class, Mr. Manns'
orchestra is probably unequalled, certainly unsurpassed,
by any other in this country. In addition to the sym-
phonies, the whole of Beethoven's pianoforte concertos
have been produced, though these were not played in
chronological order. When we say that the players of
the five concertos were respectively Herr Pauer, Mr.
Franklin Taylor, Miss Agnes Zimmermann, Mr. Charles
Halle, and Madame Arabella Goddard, we need not add
that full justice was done to those works. The same
composer's violin concerto was also performed at the
ninth concert (Nov. 26th) by Madame Norman-Neruda, in
a manner that surpassed even the expectations of her
numerous admirers. To the most unerring accuracy of
intonation, she unites a purity of tone and refinement of
expression, which render her inferior to very few living
performers on her instrument. At the same concert,
Beethoven's rarely-heard music to the " Ruins of Athens "
was given entire. The wonderfully original and character-
istic " Chorus of Dervishes," the Turkish March, and the
'short "Melodrama" for eight wind instruments, pleased
so much as to obtain encores. We could not but think,

however, that the opening chorus, and the march and
chorus, " Twine ye the garlands," lost much of their effect
by being taken considerably too slow.

The concluding concert of the first series, which took
place on the 17th of December— the centenary of Beetho-
ven's birth— was one of the most interesting of all. The
programme included the Choral Symphony (No. 9), the
Choral Fantasia (pianoforte, Madame Goddard), the
Overture to Prometheus, and vocal solos ; thus exhibit-
ing every phase of the great composer's genius. Our
space forbids us to give more than this bare record of the
performance.

Owing to the unusual prominence given to Beethoven's
works in the concerts now under notice, there has been
less of absolute novelty in the programmes than usual.
Three important works have, however, been given for the
first time at the Crystal Palace— Mr. Sullivan's bright and
tastefully-instrumented " Overtura di Ballo," composed
expressly for last year's Birmingham festival, Dr. Bennett's
Fantasia - Overture to Paradise and the Peri, and
Ferdinand Hiller's Overture to Demetrius— this last a
well-written and musicianly work, but slightly dry. Several
of Beethoven's works which had not previously been heard
at Sydenham were also brought forward. Among these
may be mentioned the Mass in c and the well-known
" Septuor " — the latter played by the whole body of the
stringed instruments, an innovation which had been
previously made in the performances of Mendelssohn's
Otello and Haydn's variations on . " God Preserve the
Emperor."

In a hasty resume" like the present, much must neces-
sarily be omitted ; and we can only add that at the various
concerts many of our leading vocalists have sung, and that
there have been several " first appearances," with various
degrees of success.

SACRED HARMONIC SOCIETY.

The thirty-ninth season of this society commenced on
the 25th of" November last, by a performance of Handel's
Judas Maccaba; us in Exeter Hall, which, as usual at these
concerts, was crowded to the doors. The principal solo
parts were sustained by Madame Vangini (who was not
heard to the best advantage in Handel's music, with which
she was not, apparently, very familiar) ; Miss Vinta, who
was very successful in the music allotted to her share ;
Mr. Vernon Rigby, and Signor Foli — both, as is well
known, thoroughly competent and experienced oratorio
singers. The choruses were sung with the usual force
and spirit, and Sir Michael Costa conducted as usual — his
ingenious, though somewhat noisy, "additional accom-
paniments " being well played by the orchestra.

On Dec. 16th, being the eve of the hundredth anni-
versary of Beethoven's birth, that composer's Mass in C
and Mount of Olives were performed ; the principal
vocalists being Madame Sinico, Madlle. Drasdil, Mr.
Vernon Rigby, and Mr. Lewis Thomas. While Sir
Michael Costa has succeeded to a wonderful degree in
obtaining the various requisite gradations of light and
shade from his chorus, it is, we think, indisputable that
works like the Mass are less effective with such an enor-
mous body of voices than the oratorios of Handel. It is,
in the nature of things, impossible, with so many per-
formers, that the more delicate passages assigned to the
orchestra should not suffer in their effect. In the more
massive parts of the music — such, for instance, as the
" Quoniam" of the Mass, and the concluding chorus to
the Mount of Olives — a breadth and grandeur are real-
ised, quite unattainable by a smaller choir. The whole
performance was fully up to the high standard of these
concerts,

THE MONTHLY MUSICAL RECORD,

[Jan. i, 1871.

MONDAY POPULAR CONCERTS.
Following the example set by the directors of the
Crystal Palace Concerts, Mr. Arthur Chappell has in-
augurated the thirteenth season of these performances by
a veritable " Beethoven Festival ; " the whole of the
programmes before Christmas being entirely selected
from the works of that master. No more striking proof
of the versatility of his genius could probably be given
than is found in the fact that eight programmes, containing
the requisite variety, could be compiled from his works
alone. There is perhaps no other composer who could
stand the same test. As most, if not all, of the pieces
performed had been previously produced at these concerts,
it is needless to give detailed notices of them. Suffice it
to say that many of the best known quartetts, trios, and
sonatas, with and without accompaniment, were performed
in a manner which left nothing to be desired. The
important post of first violin was filled by Madame
Norman-Neruda and Herr Strauss. Signor Piattiwas, as
usual, the violoncellist ; while the second violin and viola
parts were ably sustained by Messrs. L. Ries and Zerbini.
The pianists were Madame Arabella Goddard, Mr.
Charles Halle, and Herr Pauer. Among the vocalists
we have only room to name Herr Stockhausen, who
appeared on several occasions, and who, as a singer of the
" Lieder " of Beethoven and Schubert, is probably without
a rival. Mr. Benedict occupied his old post as conductor.

ST. JAMES'S HALL.
Rossini's "Messe Solennelle" has been twice performed
here, under the conductorship of Mr. H. Leslie — on
November 16th and December 7th. On each occasion it
was given as originally composed, with accompaniments
for pianoforte, harmonium, and harp. The soloists at the
first concert were Mdlle. Titiens, Madame Trebelli-Bettini,
Signori Bettini, and Foli. At the second performance,
Madame Alboni replaced Madame Trebelli-Bettini, while
Mr. Sims Reeves and Herr Nordblom divided between
them the tenor music, the soprano and bass parts being
filled as before. The choruses were effectively sung by
Mr. Leslie's choir. The second part of each concert was
filled up with a miscellaneous selection.

Mr. Benedict's new oratorio, St. Peter (which was
composed for the last Birmingham festival), was performed
for the first time in London at this hall, on December 13th.
The soloists were, with the exception of the bass, the
same who sung at the first production of the work — Mdlle.
Titiens, Madame Patey, and Mr. Sims Reeves ; Herr
Stockhausen replacing Mr. Santley. The choruses were
sung by Mr. Barnby's choir, and the composer conducted
his own work. A detailed notice of the music must be
left for a future occasion ; suffice it now to say that Mr.
Benedict has made several modifications from the original,
all of which are improvements, and that the whole per-
formance, both by principals, chorus, and band, was
admirable. The work is to be repeated at one of Mr.
Barnby's " Oratorio Concerts " during the coming season.

ROYAL ITALIAN OPERA, COVENT GARDEN.
A SHORT series of performances, under the direction of
Mr. Mapleson, was commenced at this theatre on October
31st, and terminated December 10th. Most of the principal
artistes of the regular season appeared — Mdlles. Titiens,
lima de Murska, Sessi ; Mesdames Sinico and Trebelli-
Bettini ; Mdlle. Scalchi and Mdlle. Duval (who made a
successful first appearance), Signori Gardoni, Fancelli,
Vizzani, Cotogni, Foli, Antonucci, Caravoglia, Ciampi,
Tagliafico, and others. Besides the most popular modern
works, the following classical operas were given : Don

Giovanni, Figaro, II Flauto Magico, Oberon, Der Freu
schiitz, and Medea. A grand centenary performance of
Fidelio was also given on the 17th of December, the
characters being sustained by Mdlle. Titiens, Madame
Sinico, and Signori Gardoni, Foli, Rinaldini, Tagliafico,
and Caravoglia.

Stephen Glover, the well-known composer, and
author of " What are the wild waves saying ? " and of an
immense number of songs, duets, &c, which have
achieved remarkable popularity, died at Bayswater on
the 7th of December last, at the age of fifty-eight.

The Saturday Concerts at the Crystal Palace will re-
commence on the 2 1st inst, when Schubert's unfinished
symphony in B minor, and the overtures to Medea and
Guillaume Tell are announced. Madame Norman-
Neruda is also to play at the same concert Mendelssohn's
violin concerto.

The Italian Opera Buffa Company will commence their
season on the 2nd inst. at the Lyceum Theatre. The
prospectus is remarkable for novelty, both as regards the
names of performers and the works to be produced.
Signor Tito Mattei will be the conductor, and Mr. H.
Weist Hill the leader.

Mr. Charles Hall£, in his Gentlemen's Concerts at
Manchester, is following the example set at the Crystal
Palace, and giving the whole of Beethoven's symphonies
in regular order.

In Dresden, on the occasion of the Beethoven Cen-
tenary (Dec. 17th) a play was performed, entitled Das
Erwachen der Kiinste, by Herr Rodenberg, to which was
adapted the music to the Ruins of Athens.

Our Vienna correspondent informs us that Handel's
Athalia has lately been produced there with great
success. It is useless, we fear, to hope for a chance of
hearing it in this country.

Herr Hans von Bulow, the pianist, is at present at
work upon a new " Scalen-schule " (School for Scale-play-
ing), to be published by Jos. Aibl, at Munich.

Herr C. F. Pohl of Vienna, the author of "Mozart
and Haydn in London," has just published a new book,
entitled " Die Gesellschaft der Musikfreunde des oster-
reichischen Kaiserstaates, und ihr Conservatorium " (The
Society of Friends of Music, of the Austrian Empire, and
their Conservatorium). The work is published by Brau-
miiller at Vienna.

Wagner's opera Lohengrin was produced at the
Hague, for the first time, on the 30th of November last.

A POSTHUMOUS movement from an unfinished string-
quartett, by Franz Schubert, has just been published in
score and parts by Bartholf Senff, of Leipzig.

"THE MONTHLY MUSICAL RECORD."
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The Editor cannot undertake to return Rejected Communica-
tions.

Business letters should be addressed to the Publishers.

Feb. I, 1871.]

THE MONTHLY MUSICAL RECORD.

ARTISTIC CONSCIENTIOUSNESS.

It will be readily admitted as one of the first principles of
art, that every one professing to bring before the public
the works of a great mind — whether poet or composer —
is bound in common honesty as far as possible to repro-
duce the original intentions of the writer. If the performer
(be he actor or musician) thinks he can improve on the
text, or even if he really can do so, justice to the author,
between whom and the public the executive artist acts as
interpreter, still requires a faithful presentation of the
works which he brings forward. In most things, the
principle is recognised that what is supplied to the public
must really be what it is represented to be. If a trades-
man mixes foreign ingredients with his tea or coffee, or an
apothecary with his drugs, we treat it as adulteration.
None of our public readers would venture to alter the text
in giving a scene from Dickens, or a poem of Tennyson.
Even on the stage, the system of " gagging " is disapproved
by the intelligent portion of the public, and by the re-
spectable press. But in music, unfortunately, a strict
conformity to the author's intentions is — we were almost
going to say the exception rather than the rule. This is
more especially the case with vocalists. Almost all singers
seem to consider that they have a perfect right to make
whatever alterations in the music may seem good in their
own eyes. If they have a voice remarkable for some par-
ticular high or low notes, and there is no special oppor-
tunity for their display in the piece to be performed,
passages must, forsooth, be transposed an octave higher
or lower, or a cadenza must be introduced entirely out of
keeping with the rest of the music, on purpose to show off
these notes ! Of course we are aware that there are many
instances (especially in the works of the older masters,
and in modern Italian music) in which embellishments
and slight variations of the text are not only allowable,
but even intended by the author ; but it cannot be denied
that in numerous cases arbitrary changes are made, to the
utter destruction of the composer's meaning. We do not
for a moment suppose there is intentional dishonesty in
this ; it is simply that the performers think less about the
music than about their own execution of it. But we think
it none the less reprehensible ; for the audience — the larger
part of it, at least — not being acquainted with the original
text, carry away an erroneous idea of the author's inten-
tions, and frequently imagine him to have written some-
thing which he would have been the first indignantly to
disclaim.

• In instrumental music the abuse is fortunately less
common, though not less pernicious. No doubt, here
also there are certain cases in which judicious modifica-
tions of the text are plainly in accordance with the com-
poser's views. Take for instance some of Beethoven's
earlier piano sonatas, written when the compass of the in-
strument was only five octaves. Here we occasionally
meet with passages which have evidently had to be
modified because of the limited range of the key-board.
Such are the occasional breaks of octave passages in the
bass, where at that time there were no notes below F.
Where we may feel morally certain, from the context, that

had the notes been in^the instrument they would have
been used, there can be no objection to introducing them.
But what is to be said of such cases as the following ? —
In performing Beethoven's well-known " Kreutzer-Sonata,"
more than one of the pianists who stand among the first
in public estimation (but whom, wishing to avoid person-
alities, we shall not name) continue the chromatic scale
for the treble of the piano in the last variation of the
Andante an octave higher than written, showing off the
player's rapid and neat execution — which no one ever
doubts — to the total destruction of the rhythm ! Surely
such tampering with the original is unworthy of any
one aspiring to the position of an artist (we use the
word designedly in preference to " player") of the first
rank.

The worst example of corruption of an author's text
which we ever had the bad fortune to meet with, was an
edition lately published of Weber's well-known " Invita-
tion a la Valse," " transcribed for concert-performance
by " we suppress the name. Such an atrocious cari-
cature of a great master was, it is to be hoped, never
before put on paper. Liszt himself, great artist though he
no doubt is, was by no means scrupulous in his dealings
with the works of others ; but this piece fairly out-herods
Herod ! Nearly every passage is altered, and an out-
rageous cadenza, as ugly as it is difficult, is introduced in
the middle. Surely the force of folly could no further
go!

It is in the true interests of art that we protest against
all arbitrary alterations in musical performances. The
composer must know best what he has to say, and how he
wishes to say it ; and to profess to be playing or singing
Mozart or Beethoven, when in reality one is doing
nothing of the sort, is at least disingenuous. If the
musical public would enter an energetic protest against
such unwarrantable breaches of trust, one might have
some hopes of a change for the better ; but so long as our
audiences think more of the " high c " or " low D " of a
singer, or the brilliant execution of a pianist, than of
the great and beautiful ideas of the music which is being
performed, there is but little prospect of improvement.

FRANZ SCHUBERT'S MASSES.

BY EBENEZER PROUT, B.A.
I. THE MASS IN F (continued from page 6).
THE " Credo " of the mass in F strikingly contrasts with
the " Gloria " in respect of development, being throughout
in one movement, without change of time (f major,
andantino, f , 227 bars), and is remarkable both for the
novelty and beauty of its effects. Neither clarinets,
trumpets, nor drums are employed in it ; and, instead of
the noisy jubilant style to which Mozart and Haydn have
accustomed us in setting these words, the general feeling
of the music is subdued and reverential. We shall meet
again with a similar style of movement at this place, in
the masses in G and E flat. In those in B flat and c, on
the contrary, our author has adopted (and certainly with
less success) the more usual method of treatment.

THE MONTHLY MUSICAL RECORD.

[Feb. i, 1871.

After six bars of prelude, the chorus begins piano :—

, Corni. Ob. i.~, >

=£=fc

wmSmmm^mm^

B^feSE^afesg

In the above illustration the string parts are omitted,
to save room. The violins play in the octave above and
unison with the soprano, while the violas and basses do
the same with the bass voices. The figure for wind
instruments here introduced is continued (except for a
few bars at the " Crucifixus ") through the entire move-
ment— a favourite device of Schubert's, to be met with in
many of his songs. At the " Credo in unum Dominum,"
the first subject is repeated, still piano, but with a new
quaver figure for violins and tenors in octaves, which
gives a fresh colouring to the whole. On the words
" Deum de Deo" the music becomes brighter, and a
forte of some twenty bars' duration is introduced, leading
to a full close in D minor. To this succeeds a tenor solo
in E flat, to the words " Qui propter nos homines," of no
special originality or merit ; and the following, " Et in-
carnatus est," which Schubert, in some of his other
masses (especially that in E flat) has set so beautifully,
is hurried through in a most disappointing manner.
Ample compensation is, however, made at the " Cruci-
fixus," in which the music fully rises to the height of the
subject. Room must be spared for two quotations : —

V. 1. (V. 2, ait 8ve.)

Bassi, Fag. 2

Vni. 1, 2, in Sve.

~P~J~J^^^ -'Cru - ci

fix -

Bassi, Fag. 2.

In this striking passage the brass instruments sustain
the harmony with the voices. Four bars later occurs a
fine pedal point, of which it will be only necessary to give
the orchestral parts, as the voices throughout intone the
F, piano, in unison and octaves, to the words " Crucifixus
sub Pontio Pilato ; passus, et sepultus est."

Bassi, {Fag. ten. col. Basso.

This employment of the trombone, pianissimo, is per-
fectly original, and remarkable as an early instance of
Schubert's fondness for that instrument. A somewhat
analogous effect will be remembered in the first allegro of
his great symphony in c. After a subdued close in F
major, the " Et resurrexit " breaks forth exultingly, with
the original motivo (now forte) in the key of B flat, and a
new and vigorous accompaniment for the whole stringed
band in unison —

Feb. t, 1871.]

THE MONTHLY MUSICAL RECORD.

Bassi {Viol, e Viola, all Sva.)

the wind instruments still continuing the figure quoted
in the first extract. After a bass solo, of a bold character,
"Et iterum venturus est," the first subject once more
recurs, piano, in the key of F, at the words " Credo in
Spiritum Sanctum," accompanied by the same violin
passages that were met with at the " Credo in unum
Dominum." The rest of the movement much resembles
the first part, till reaching the " Et vitam," which is thus
set —

V.z.{V.i. Va., allZva.}

with the same figure for wind instruments that has
been more than once referred to. The passage is re-
peated, the second time with the cadence prolonged ; at
the " Amen " the voices subside to a whisper, and four
bars of symphony for the strings, with a remarkable
pizzicato passage for violoncellos and double basses,
bring this striking and original movement to a conclusion.
The " Sanctus" (f major, E, adagio maestoso, 22 bars) is
inferior in interest to some other portions of the mass. The
opening, however, is worth noticing both for its originality
and beauty. The basses alone begin with a tremolo (pp.)
on the dominant. On this foundation the chord of the
seventh is built up note by note in the orchestra, with a
continual crescendo ; till at the third bar the voices, brass,
and drums enter with an imposing fortissimo on the
common chord of F, for the one word "Sanctus." At each
repetition of this word a similar effect is produced— always
with the two bars of symphony crescendo, but each time
with a variation of the harmony. This opening is cal-
culated to arrest attention, and excite expectations which
the rest of the movement fails to realise. At the " Pleni sunt
cceli," the'interest falls off, the music from this point being
by no means in the composer's best style. Contrary to the
almost universal custom, Schubert has not set the " Osanna"
to z.fugato. The same is also the case in the masses in
B flat and c. Before passing on, it is worth while to
notice that this " Sanctus" presents the solitary instance
throughout the work of a miscalculated orchestral effect.
In the accompaniment to the "Pleni" there is an arpeggio

for clarinet and bassoon, which, from its being placed in
the middle of the voices and against a fortissimo for full
chorus and orchestra, would be almost, if not quite, in-
audible. It is wonderful that a mere lad (as the composer
of this work was) should, with this one exception, have
not written a note for the instruments which would be
ineffective.

The " Benedictus " (B flat major, f , andante con moto,
72 bars) is one of the most inspired and, as regards
workmanship, certainly the most beautifully- finished
movement in the whole mass. It is a canon in the unison
and octave for two soprano and two tenor solo voices,
carried with the strictest imitation, and yet with the most
charmingly natural flow of melody, to the end. The idea
may, it is not impossible, have been suggested to the
author by the well-known canon in Fidelio with which
the one now under notice may well pair off. The second
tenor first anounces the theme.

Be - ne -

il 1! U -I*-, m m

diet - us,

qui ve - nit

m no

- mi - ne

mPT' m

fp-^-l_^

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r E u & ' t

1 Do-mi-ni

3e - ne -

diet - us,

qui ve - ni

t in no - mi-nc

r- f — £-i

ITU" fr £-!-—

J ! — I

L J

Do - rai-ni

Be - ne - diet - us, be - ne - diet - us, qui

Ifxb-

ve - nit in

Do- mi-ni. &c.

Space will not allow a fuller extract, so as to give the
accompaniment as well as the melody. At each resump-
tion of the theme by a fresh voice, a new orchestral figure
is introduced. Specially charming is the scoring when
the first soprano enters. While all the four voice parts
are moving apparently with the utmost freedom, yet really
in the strictest canon, the strings accompany pizzicato,
and the clarinet and bassoon in octaves interject frag-
ments of melody, which twine around the voice parts in
the most graceful manner, with an effect as novel as it is
pleasing. Owing to the impossibility of compressing the
whole score into a few lines, and the no less impossibility
of leaving out even a single part without spoiling the
passage, it cannot be quoted> here. At the close of the
canon after four bars of symphony the chorus enters, for
three bars only, with the words " Osanna in excelsis," to
conclude the movement according to the requirements of
the Catholic service.

Schubert, it may be here remarked, is invariably suc-
cessful in his treatment of the " Benedictus." It seems
as if some of his happiest ideas were always suggested by
these words ; and he was so careful always to do full
justice to this portion of the text, that for one of his'
masses (that in c), not satisfied with the first setting, he
wrote in the last year of his life, and twelve years after
the completion of the work, a second " Benedictus,"
which is one of his finest and most characteristic com-
positions.

The " Agnus " of the mass in f (adagio, F minor, E,
22 bars) commences with a prelude of two bars, in which
the chief subject is announced by a solo oboe. The tenor
voice accompanied only by the strings then repeats the
same melody, and at the " miserere nobis " the oboe joins
in the cadence. The prayer is then taken up by the chorus,
piano,

THE MONTHLY MUSICAL RECORD.

[Feb. i, 1871.

mi - se - re - re no - bis,

,Alto,

mi - se - re - re no - bis,
TenL

-*"* - I .. .

mi - se - ie - re no - bis, mi - se - re - re no - bis. &c.

The oboes and bassoons play with the voices, while the
strings accompany in detached chords. At the third bar
of the extract Schubert's favourite trombones enter, piano,
to fill up the harmony. The consecutive octaves between
tenor and bass at the close, are characteristic of our
author's carelessness about details in composition. There
is scarcely one of the masses in which frequent consecu-
tive fifths and octaves are not to be met with. They are
evidently the result of inattention ; and when Schubert's
surprising rapidity of composition is remembered, the
wonder would rather be that such lapsus calami are not
much more common. After the cadence quoted above, the
first subject is repeated as a bass solo in the key of B flat
minor ; the chorus entering at the " miserere," as before ;
and a half-close in F minor leads to the" Dona" (f major,
f, andante, 81 bars). This movement is founded on the
theme of the " Kyrie," the developments, however, being
entirely different. The music is mostly quiet — the
trumpets, trombones, and drums being silent throughout.
An almost ceaseless flow of semiquavers for the inner
parts of the stringed quartett gives animation to the
movement, which is full of the most delightful melody.
We have only space for one short extract— the symphony
leading back to the return of the first subject, after a half-
close for the chorus, on the chord of the dominant seventh.

_n^nr ■ v j -- -*- v- m.

The last notes of the " Dona " die away pianissimo —
surely much more appropriate treatment for such words
than the lively, and even jovial, music which is to be met
with in this place in many other masses — even in some
which are highly and deservedly esteemed. Schubert
himself did not always manifest the same good taste in
this matter. In the masses in B flat and C, we shall find
the "Dona" set after the conventional model. In the
year following the composition of the present work, he
wrote a second "Dona" for it ; but as this still remains
unpublished, I am unable to give any account of it.

In spite of the fact that no intimation of any other mass
in F is to be found either in the life of Schubert, or in the
catalogue of his works, it is difficult to avoid the suspicion,
from internal evidence, that this work must be of later date
than that assigned to it by his biographer. In originality
and fecundity of invention it is superior to the three
masses (in G, B flat, and c) which follow it ; while the
scoring is even more advanced, in comparison ; and it is
hard to believe that, after breaking into such new tracks, he
should have returned to the well-trodden paths of Haydn's
and Mozart's orchestra. Still, in the absence of proof to
the contrary, we must accept it as hi% first mass ; and if
it be, it is probably (excepting Beethoven's in c) the most
remarkable "First Mass" ever composed, undoubtedly
the finest ever written by a boy of seventeen. In the
whole series no other will be found, except the last and
best,! in which Schubert's individuality is more strongly
manifested.

FRENCH WRITERS FOR THE CLAVECIN.

EXTRACTED FROM A LECTURE AT THE SOUTH KENSINGTON
MUSEUM.

By E. PAUER.

In France we find among the most celebrated clave-
cinistes, Jacques Champion, generally called Chambon-
nieres ; Francois Couperin, sometimes styled Couperin
le Grand, and Jean Philippe Rameau. For quantity and
quality their works are highly distinguished. All three
lived during the reign of Louis XIV., and I need not
observe how much, with regard to elegance, refinement,
and taste, France was at that period in advance of Eng-
land and Germany ; in some respects, also, of Italy.

Rameau was of a rather misanthropical disposition,
and, perhaps, less affected by the caprices of that " dandy
par excellence" Louis XIV. ; still he could not help writ-
ing in the spirit of his age, and the result is that we
possess in the works of Champion, Couperin, and Rameau,
truthful images of the great " Rococo" period. We b.-gin
with Andre" Champion. A contemporary, Le Gallois,
says, " He produced a peculiarly sharp and brilliant tone
on his instrument, and only his pupil Hardelle was able
to imitate him in this respect." Of Champion we possess
two volumes of compositions. In many of his pieces
we find the special French style of ornamenting simple
melody. This manner was maintained by Rameau in a
more moderate way. It was carried by Couperin almost
to a ridiculous point, and therefore ended in empty
mannerism. Champion's writing is graceful and naive ;
it deserves considerable attention and respect for his pure
and harmonious treatment. Compared with the Italian
pieces, it will be perceived there is a certain earnestness
combined with elegance. The phrases of the French are
more pointed and finished, and there is a greater piquancy
in the effect.

Francois Couperin, principal organist of St. Gervais,
was born in Paris in 1688. In 1701 he was appointed
Claveciniste de la Cour, and, as already mentioned, the

Feb. i, 1871.]

THE MONTHLY MUSICAL RECORD.

influence of a court life, and most particularly of the opu-
lent splendour and studied etiquette of Louis XIV., are
to be recognised in the style of his works. If we di-
vested any of Couperin's pieces of the numerous agrd-
ments, the little turns, trilles, shakes, slidings, etc., we
should always find a very fair and genuine material. If,
however, played with all the little manners or galan-
teries, as they were called by Sebastian Bach, a piece of
Couperin's resembles somewhat a lady in the costume of
the time, with all the attributes of beauty spots, grand
taupe", numberless bows, ribbons, enveloped in graceful
folds of a Brussels lace veil. It has been well remarked
that art expresses more or less the fashion of its time.
Couperin was, notwithstanding all his mannerisms, a
great artist ; and Bach, who never disdained anything,
studied the works of his French contemporary as closely
as those of Scarlatti. Some of the titles of Couperin's
pieces are very singular, such as " La Mylordine," " Les
Nonnettes," "L'Enchanteresse," "La Prude," "LaMarche
de Gris-vetus," " La Dangereuse," " L'Angelique," " Le
Dodo," &c. He was par excelleiice the Ladies' Claveciniste,
and in his preface he courteously says about the titles :
" Les pieces qui les portent, sont des especes de portraits
qu'on a trouve' quelques fois assez ressemblants sous mes
doigts." A valuable work of Couperin, particularly in an
historical point of view, is his " L'Art de Toucher le Clave-
cin." It gives a complete description of all the agrd-
ments, of the way they ought to be executed, and affords
many valuable hints as to expression and style in general.
May I just for a moment draw your attention to an im-
portant point concerning all music written before the
invention of the hammer ? Before the hammer was em-
ployed as a means to produce the sound, it was im-
possible to play louder or softer by pressing harder or
lighter on the key. The tones were all equally loud.
The great number of little notes was indispensable to
produce anything in the shape of a crescendo or sforz-
ando. A trille, for instance, sharply and precisely exe-
cuted, held good for a sforzando note ; again, a sliding
scale performed rapidly produced the effect of a cre-
scendo. But with our present instrument it is not neces-
sary to play all these little notes. They can be advan-
tageously discarded, without any fear of injuring the
sense of the composition. It will only be necessary to
find out how the natural expression of the piece should
be:given. That this deficiency in the clavecin was in a
great degree a reason for the application of these orna-
ments, may be easily seen by comparing violin composi-
tions of the same time. The violin, enjoying as it does
the power of continuing the sound, has never been so
overcrowded with galanterics or agrdments.

Before I proceed to Rameau, 1 must mention a clever
Frenchman — Louis Marchand. He was eminently a
virtuoso ; his compositions are by no means very re-
markable, and appear, when compared with those of
Rameau, insipid and shallow.

Marchand, then enjoying a great reputation, was in-
strumental in convincing the Germans of the incontest-
able superiority of their countryman, Sebastian Bach ;
and for this reason, if for no other, he will always com-
mand a certain interest. Marchand was born in 1699, at
Lyons, and in his fourteenth year had already received
the appointment of Organist of the Cathedral of Nevers.
When about twenty-five, Louis XIV. nominated him
Organist to the Court at Versailles, and made him Knight
of the Order of St. Michael. But his vanity and arrogance
increased with his fame, and, lost in debauchery, he forgot
to provide for his much-respected wife. The king, hear-
ing of Marchand's behaviour, at once ordered that half
of his salary should be withheld, so as to be handed over

to his (Marchand's) wife. Soon after the king's command
was executed, Marchand had to perform mass before the
whole Court. With the "Agnus Dei" the organ was
silent. Everybody thought that a sudden indisposition
had seized Marchand. But after the service, the king
met Marchand taking a walk. He asked him for the
reason of this sudden interruption, whereupon Marchand
coolly answered, "Sire, if my wife receives half of my
salary, she may also play half of the service." The king
was so annoyed at this impertinent answer, that he
banished him for several years from France. During
this time Marchand came to Dresden, and was invited to
perform before the Court. He pleased so much that the
Saxon king offered him an excellent appointment. At
the same Court another Frenchman, Volumier, was en-
gaged, and he could not endure Marchand's arrogance.
He doubted his ability to compete with Sebastian Bach.
The Saxon king, hearing of this, invited Bach to perform
at a concert with Marchand. They met. Marchand
began with variations on a French chanson, neatly and
elegantly played, and with charming expression. Every
one was pleased, and he was warmly applauded. Bach,
being asked, quietly sat down, and began with full and
rich chords. He took the same chanson, and improvised
a dozen other variations, in the most complicated style.
There was but one opinion as to who was the real master.
Bach invited Marchand to give an organ performance
together on the next day. Bach was punctual, but waited
in vain for Monsieur Marchand, who had left Dresden
the sa*me morning, and never returned to Germany.

I must not omit to name another clever claveciniste of
this period — Louis Claude Daquin. He was another
musical prodigy. He gave concerts when he was only
eight years old. But when Rameau appeared, Daquin
was so completely put in the shade that his contempo-
raries ceased to mention him.

Jean Philippe Rameau was in some respects the greatest
of French composers. He was evidently un homme
sdrieux, rather more German in the style of his studies
than Frenchmen generally are. Born at Dijon, in 1683,
he performed in a remarkable manner as early as in his
eighth year. For a long time organist at Lille and Cler-
mont, he became famous by the publication of his
" Nouvelles Suites de Pieces de Clavecin, avec des Re-
marques sur les diffe'rens genres de Musique." Again, in
1706 and in 1721 he published two more volumes.
These last two books of pieces are among the gems of
our literature. In Rameau's pieces we discern the desire
to extend and ennoble the sphere of the clavecin, and he
tries energetically to express, in a characteristic manner,
different feelings. What he has attained in this particu-
lar, has not been realised by any other contemporary,
save Bach ; but it is doubtful whether Bach had at that
time any influence on Rameau. Music-printing was then
in its infancy. Bach never was in France, Rameau never
in Germany ; and, although we read that Bach took great
interest in Rameau's writings, it is questionable whether
Rameau knew much of Bach or Handel. Compare the
pieces of Rameau with those of Scarlatti, you will at once
be struck with the greater richness in the harmonies. A
warmth of feeling, agreeable to the ear and sympathetic
to the heart, is evinced by the former. Italian instrumen-
tal music is mostly cold. The French, if they have not
the depth of feeling of the Germans, are, nevertheless,
accomplished in rounding and finishing their phrases.
They elicit great contrasts, and possess also a talent for
plastic beauty ; for symmetry, in which the Italians of
that time were rather deficient. Looking at the titles of
Rameau's compositions, we find much fewer of those
eccentric names which occur in Couperin. Rameau is

THE MONTHLY MUSICAL RECORD.

[Feb. I, 1871.

more earnest. Amongst his pieces, a little plaisanterie
has attained considerable notoriety ; it is called " La
Poule." In this piece, which is written in the form of a
sonata's first movement, he imitates a hen. Although a
mere joke, it shows the artist at once, and the arrange-
ment of the " co, co, co, co, dai," so happily relieved with
most tender and graceful phrases, is in every respect
felicitious. When we compare the Italians with the
French writers of this period, we find that the former
write in a more spontaneous and simple way, natural but
slightly monotonous. The Frenchmen, Rameau and
Couperin, are more refined. Their taste and the ele-
gance of their expression are superior.

The following amusing anecdote is related of the rather
morose and misanthropic Rameau. He seems to have
been very partial to a Mdlle. Salle. This young lady, a
celebrated dancer, full of talents, besides being proficient
in the art of Terpsichore, sang and played well, and with
much feeling and delicacy. She once expressed to
Rameau the ardent desire she had to be able to compose
a piece of music, and begged him to assist her in trying
to set about it. " Nothing is easier," said Rameau ; " you
can try now." He gave her a pin and a sheet of music-
paper, and requested her to prick on or between the lines,
wherever she pleased. When she had done so, Rameau
made a note on each pin-hole, without altering or omit-
ting a single one ; arranged them according to rhythmical
value, added the clef, and then presented the charming
lady with her composition. Mdlle. Sally's pin compo-
sition was known and admired in France for many
years as a dance, with a piquant melody, entitled " Les
Sauvages dans les Indes galantes."

ON THE BEATS OF IMPERFECT CONCORDS-

BY W. S. B. WOOLHOUSE, F.R.A.S., ETC.

The theory of the beats of imperfect concords is, perhaps,
the least generally understood by musicians, although the
subject possesses considerable interest, and is capable of
decided practical application in accurately tuning a given
tempered scale of notes, especially those of organ-pipes.

The inquiry was first scientifically treated in my small
work on " Musical Intervals," &c. (now out of print).
A further exposition in the Monthly Musical Record
may possibly be of some use, as conducing towards a more
extended knowledge of the subject, and an increased
familiarity with the principles on which it depends.

If two notes, when sounded together, form a perfect
concord, the numbers of their respective vibrations, per-
formed in any given time, are necessarily in the exact
proportion of two simple numbers appertaining to the
interval of the concord. The numerical fractions which
denote the principal consonant intervals are the following,
viz. : —

Minor third f

Fourth *

Minor sixth -•>-

Major third

Fifth
Major sixth

For example, the note c, between the bass and treble staves,
vibrates 256 times, while the note E, immediately above it,
at the interval of a perfect major third, vibrates 320 times
in a second. These numbers are in the ratio of 4 to 5, so
that the lower note c performs 4 vibrations in exactly the
same time that the upper note E performs 5 vibrations.
Therefore, if they begin their vibrations together, they will
again be precisely together after 4 vibrations of the note C
and 5 of E, and will have performed a cycle from coin-
cidence to a renewed coincidence, which cycle we designate
the cycle of the co^cgrd. When 64 of these cycles are

completed, the note C will have performed 64 times 4 or
256 vibrations, and the note E 64 times 5 or 320 vibra-
tions ; and the time occupied by these vibrations is, there-
fore, just one second. Thus it appears that the coin-
cidence of the vibrations regularly recurs at the rate of 64
pulsations in one second ; and this rate being one-fourth
of the corresponding vibrations of the note C, will cause
the sensation of another note C, two octaves lower, which
last -mentioned note is what is known as the third sound
of the concord, and is, indeed, the grave harmonic detected
by the sensitive ear of Tartini. If, however, in any excep-
tional case the coincidences should happen to recur at a
slow rate, say less than about 30 per second, they will
then, instead of causing the sensation of a deeper musical
note, be simply heard as distinct pulsations or flutterings.

The subject of the present article relates to a compara-
tively much longer cycle, which belongs to the case of con-
sonances which form intervals that are nearly, but not
accurately perfect. All tempered consonances are attended
by a series of beats. The periodic coincidences which
take place with the perfect interval of the concord, are
disturbed in consequence of the vibrations of one of the
notes having gained a little upon the other at each
successive place of former coincidence. As soon as this
small, but accumulating, gain brings two contiguous and
corresponding vibrations about to another coincidence, a
long cycle of the vibrations will be completed ; and they
will continue and perform a similar long cycle in the same
manner, and so on. The coincidences at the beginning
and end of these cycles are the times when the beats are
heard, and, consequently, the time of the long cycle is the
same as that between two consecutive beats. The beats
are caused by the mutual concurrence of the vibrations in
setting the particles of the surrounding air in motion,
which makes the joint sound more loud at the places of
coincidence, though not with sufficient rapidity to produce
the sensation of another continued sound.

To investigate the theory, let P denote the number of
vibrations of the lower note {k) in one second ; Q, the
corresponding number for the upper note (s) ; and -" the
fraction which represents the perfect interval of the
concord.

First, suppose the two notes to form a perfect concord ;
then, accurately, 5 — "' ; and, tracing the successive
vibrations through a cycle of the concord, when
( (h) performs 1, 2, 3, m vibrations,

\ (s) » I' 2£> 3£> « „ ;

and, since the numbers m and n are prime to each other,
the value in the latter series cannot become integral until
m vibrations of {k) and n vibrations of is) are completed,
when a coincidence will again take place. The vibrations
will then have finished a small cycle from coincidence
to a repeated coincidence, the time of this short cycle
being m vibrations of (h), or p. This is the cycle oj 'the
perfect concord.

Again, the m terms of the fractions ~, 2^, 3^, . . . n,
will consist of 111 whole numbers, connected with the
simple fractions ^, ^, ^, .... —-, o, but in a different
order ; and hence, at the two particular vibrations of (k)
in each cycle, where this simple fraction becomes -™;1 and
~n , the note (s) will be just -th of its own vibration re-
spectively behind and in advance of that of (/&), and these
will evidently be the most contiguous vibrations of the
two notes which occur in the cycle of the concord.

Suppose now that the interval of the concord is
tempered ; then £ is not exactly but only approximately

Feb. I, 1871.]

THE MONTHLY MUSICAL RECORD.

equal to j. The effect of the change is that for one vibra-
tion of (k) the upper note (s) now performs § instead of
£ vibrations, and therefore gains or loses a small portion
of its own vibration expressed by the difference ^ ^ £. It
is evident that it will continue to gain or lose this quantity
during every succeeding vibration of (k) ; and that as
soon as it accumulates to the amount of the ^th of a
vibration, which has been shown to be the distance be-
tween the most contiguous corresponding vibrations of the
two notes in the course of each cycle, it will bring these
particular vibrations together, and cause a new coin-
cidence for the first time. The number of vibrations of
{k) to produce this effect is hence

which multiplied by the time of one of those vibrations, or

h sives

m Q 00 «P

for the interval, in seconds, between the distant coin-
cidences, which include the cycle of beats, the beats being
heard at the places of coincidence.

The number of beats in one second 'is therefore

8 = 7/zQ on ;;P

Hence the following rule for calculation: —

Rule. — Multiply the number of vibrations per second of the upper
note by the numerator of the fraction which denotes the perfect
interval of the concord ; and multiply the number of vibrations of
the lower note by the denominator of the same fraction : the
difference between the two products will give the number of beats in
one second.

If the first product exceed the second, the temperament is sharp ;
if it be less, the temperament is flat.

Example. — According to the scale of equal tempera-
ment, the numbers of vibrations in one second, for an
octave of semitones, are

Required the number of beats in the triad gR=*F3

1. — The fraction for the major third CE is-; therefore,

by the rule,

Upper note 322-5 X4= 1290-0
Lower „ 256*0 x 5 = 1280-0
In one second, Eeats io'o j

2. — The fraction for the minor third EG is - ; and

Upper note 383-6 x 5= 1918-0
Lower „ 322-5 x 6 = 1935-0
Beats

17-0 \>

3. — The fraction for the fifth CG is - ; and
Upper note 383-6 x 2 = 767-2
Lower „ 256-0 x 3 = 768-0
Beats o-8»

It thus appears that the three component intervals CE,
EG, CG have the first tempered sharp, and the second
and third flat ; and that they beat at the respective rates
of 10, 17, and nearly 1 beat per seconcf,

SAVERIO MERCADANTE.

THIS prolific composer of operas, who died at Naples on
the 17th of December last, was born at Altamura in the
year 1798. In the twelfth year of his age, he began to
study music at Naples, under Zingarelli. He made his first
attempt at dramatic music, with a cantata for the Theatre
"del Fondo," at Naples, in 1818 ; in the following year he
produced his first opera, EApoteose d'Ercole, at the San
Carlo Theatre, with success ; and in the same year an
opera buffa,- Violenza e Costanza, which was equally well
received. In 1820 he produced Anacreonte in Samoj and
in consequence of his growing reputation, received a com-
mission to write for Rome, in which city he brought out
// Geloso Ravvednto and Scipione in Cartagine. In 1821
he wrote for Bologna, Maria Stuarda; and for Milan,
Elisa e Claudio, one of his best works, which created a
furore. It would be a mere waste of space to give the
names of the numerous operas which followed, as most of
them are long since consigned to oblivion. Among his
best works are I Briganti, II Giuramcnto, and La Vestale.
Like his more illustrious fellow-countryman, Donizetti,
Mercadante wrote too much for his reputation ; and hence
the larger part of his music is of little real value. Though
pleasing, and often very effective, his compositions cannot
lay claim to much originality, as his style is an imitation
at first of Rossini, later of Bellini and Donizetti. Yet he
was (like most Italians) endowed with a natural vein of
melody, and in some of his pieces will be found considerable
dramatic feeling. His orchestration is also very skilful,
and detached movements from his works will probably
continue to be heard in the concert-room long after his
operas have been finally banished from the stage. Had
ho expended more labour on his music, and written less
for the present and more for posterity, his natural talents
would have raised him to a higher position among com-
posers than he has attained.

jfomcpt CoiTtspmttrewe,

[Owing, we presume, to the irregularity of the postal arrangements
on the Continent, the letter of our Leipzig correspondent has
not arrived at the time of our going to press. We hope to give
a letter from him "in our next number.]

MUSIC IN VIENNA.
(from our special correspondent.)

Vienna, i$th Jan., 1871.
I NOW give you the promised report of our Beethoven
Festival, which lasted five days (from the 16th till the
20th of December), namely, two representations in the
Opera House {Fidelio and Egmoni), three concerts in the
great concert-room of the Gesellschaft der Musikfreunde,
and, lastly, a banquet in the same hall. A colossal
bust of Beethoven, crowned with laurel, was placed on a
high pedestal behind the orchestra. First day : the
opera Fidelio. The overture (Op. 115) was first executed,
followed by a melodramatic Vorspiel (opening piece), by
Mosenthal, adapted to the melodrama, The Ruins of
Athens, from which was also taken the well-known march
and chorus. Mdlle. Wolter, from the Burgtheater, in a
Greek dress, recited as Polyhymnia the festival prologue,
and concluded by crowning Beethoven's bust, which was
placed in a Greek temple and surrounded by his princi-
pal works symbolically represented. At the same mo-
ment the head of the great master was brilliantly illumi-
nated- by an electric light, and the whole house broke out

THE MONTHLY MUSICAL RECORD.

[Feb. I, 1871.

into shouts of applause. The opera commenced with the
great overture to Leonore, No. 3. It was the first time
that the overture, No. 4 in E major, was not executed (a
custom, however, already wisely introduced in your
country by Signor Arditi), as hitherto the great overture
has been always executed after the first act. The execu-
tion of this work by our orchestra, under the direction of
Herr Dessoff, has long been justly celebrated, but the
enthusiasm was never greater than this time. Mdme.
Dustmann sang the part of Leonore well, though in some
points Mdlle. Titiens shows more genius in her rendering.
Herren Walther, Beck, and Draxler sang the parts of
Florestan, Don Pizarro, and Rocco. Walther, a thorough
lyric singer, wants depth of expression ; Beck is a great
favourite also in this part ; Draxler is the veteran of our
stage, and is never found wanting. Formerly the part of
Rocco was given by the never-to-be-forgotten Staudigl,
and Florestan by Wild. The chorus of Prisoners was
first-rate ; the mise-en-scene of the whole opera very good'.
This representation was followed by three concerts. The
approaches to the splendid building of the Musikverein
were adorned with flags. The excellent orchestra of the
opera was engaged for the first and second concerts ;
Dessoff conducted the first, Hellmesberger, the second.
Second day (first concert) : overture, Op. 1 24, prologue by
Weilen, recited by Herr Lewinsky, of the Burgtheater ;
concerto for piano, E flat major, performed by Door, pro-
fessor of our Conservatoire ; the 9th symphony. The
soli were sung by Frauen Wilt and Gomperz-Bettelheim,
Herren Labatt and Schmid. Wilt, Bettelheim, and Schmid
known to the English through the Italian Opera in
London ; Bettelheim has quitted the stage ; she is now
married and lives in Briinn. Frau Wilt has studied much
since her residence in London. Her voice was well fitted
for the two greatest works of Beethoven. The execution
of the symphony was glorious. Third day : Missa Solen-
nis. Soli, Frauen Wilt and Bettelheim, Herren Walther
and Rokitansky, from the Opera. The chorus was, at both
concerts, composed of members of the best choral unions.
The grandeur of the composition exercised its full sway
over the audience. Fourth day : chamber music. 1. Grand
trio, B major, Op. 97 (executed by Epstein, Grim, Popper).
2. Liederkreis, Op. 98 (sung by Walther). 3. Busslied,
Op. 48, No. 6 ; Mailied, Op. 52, No. 4 ; Neue Liebe,
neues Leben, Op. 75, No. 2 (all three sung by Frau Gom-
perz). 4. Ouatuor, C sharp minor, Op. 131 (Hellmes-
berger and son, Bachrich, and Popper). The perform-
ance of all these numbers was in every way successful,
but some of the effect was lost through the large size of
the concert-room. A serious work such as the Ouatuor,
Op. 131, was not the most suitable conclusion to the
musical performances, the audience being too fatigued to
appreciate it as at any other time. In the evening of the
same day, Egmont, with Beethoven's music, was repre-
sented in the great Opera House. It was the first time
that the actors from the Burgtheater have performed in
the Opera, and will probably be the last, as the house is
too large for the drama. The appearance of the room,
brilliantly lighted and filled with an audience in full dress,
was like Covent Garden on its best evenings. Herbeck
conducted the orchestra. Fifth day : the festal banquet.
The hall was tastefully decorated ; Strauss and his
orchestra enlivened the conversation ; Dingelstedt took
the chair ; Herbeck gave the toast " Beethoven." Amongst
the specially invited guests, the biographers of Beethoven,
Lenz, Thayer, and Nohl ; Volkmann, the composer, from
Pesth ; Seroff, from Russia ; Nottebohm, to whom we
owe Beethoven's catalogue ; Brahms, the much-esteemed
composer, now living in Vienna, and many others were
present. During the festival days the tomb of Beethoven

was not forgotten. Members of the different Unions
made the pilgrimage thither, sang, and laid garlands on
the tombstone. Those who took share in the festival
received, as a lasting memorial, a medal, on one side the
head of Beethoven en relief, by Radnitzky, copied from
his best portrait by Dietrich.

In the last weeks of the past year we have to notice two
concerts : one by the Orchester-Verein, a society of dilet-
tanti(united like the Sing- Verein with the Musik-Verein),
since its foundation in 1859 under the conductorship of
Carl Heissler ; and a second one by the " Wiener Man-
nergesang-Verein"j(the Men's Vocal Society), which last
was conducted for many years by Herbeck, and now by
Weinwurm. The " Haydn- Verein," a fund for the widows
and orphans of musicians (similar to your " Royal Society
of Musicians"), performed Mendelssohn's St. Paul at
Christmas in the Burgtheater, a place very unfavourable
for musical performances.

Including the two oratorios, Israel and Athalia, men-
tioned in my first report, Vienna has had, therefore, three
oratorios in the course of two months — a circumstance
which does not frequently occur in Vienna. The Haydn-
Verein will celebrate next springShe commemoration of
its foundation in 177 1 ; it possesses considerable funds,
for which it is principally indebted to its performances of
the Creation and the Seasons. In the fourth and fifth
Philharmonic concerts were executed the overture to
Genoveva by Schumann, a very fair concerto for piano,
composed and well executed by F. Gernsheim, a pro-
fessor from Cologne ; a concerto for string instruments
(e minor) by Handel ; two songs by Antonio Lotti (Aria,
" Pur dicisti "), and Berlioz (" Absence," from the Nuit
d'&te), both sung by Mdlle. Regan ; and the symphonies,
No. 6 in G minor by Gade, and Nos. 2 and 4 by Beetho-
ven. Mdlle. Pauline Fichtner gave a concert, with a pro-
gramme which must have pleased the friends of progress.
Besides Scarlatti, Schumann, and Chopin, she performed
two compositions by Liszt — the concerto No. 2, A major,
and a fantasie on motivi from the Ruins of Athens — both
with an orchestra very brilliant and noisy. These are no
compositions for ladies' hands, and Mdlle. Fichtner has
not the requisite power for their performance. She played,
however, a very fine gavotte, by Raff, exceedingly well.
Two very interesting songs by Richard Wagner were
given : " Im Treibhaus," and " Triiume." They are called
by the composer," Studie zu Tristan," and are of great value
in every respect. The Florentin-quartett, Jean Becker
and consorts, have taken their departure from Vienna.
They did not execute one new composition in their six
evenings. The programmes were confined to Haydn,
Mozart, Beethoven, Mendelssohn, Rubinstein (Op. 17, c
minor), Schumann, Volkmann (Op. 14, G minor), Schu-
bert (d minor), and the piano-quintett by Schumann,
Op. 44. For the next few weeks we shall not have many
concerts, as we live in Carnival, and though the world is
full of misery round about us, and no one knows what
the next future may bring, there are still people enough
who like to dance and amuse themselves. In the Opera
the change has taken place which was prophesied in my
first report, namely, Herr Herbeck has succeeded Hofrath
Dingelstedt as sole director of the Opera, retaining his
place as conductor of the orchestra. On December 28th
the representation of a new opera took place. Judith,
an opera in four acts, by Dr. Mosenthal — the music by
Franz Doppler, the celebrated flutist of our Opera-orches-
tra— is a work which shows a skilful hand in the treatment
of the voice and of the instruments. In its dramatic
parts, the influence of Wagner, Meyerbeer, and others is
predominant. It is not a work of genius, but of great
and zealous effort. The parts of Judith and Holofernes

Feb. I, 1871.]

THE MONTHLY MUSICAL RECORD.

are of great interest, and were well represented by Frau
Friedrich-Materna and Herr Beck ; also Labatt (tenor)
as Athaniel, and Dr. Schmid as Joakim, must be men-
tioned. The chorus has a great deal to do, and merits
much praise, as does the orchestra. The words by
Mosenthal, the author of Debora, are excellent in every
respect. The opera was well received, and has been
already repeated three times. The severe weather has
its influence also on the opera. Many of the members
are ill, and among them the two tenors, Miiller and
Walter. It was, therefore, but natural to look out for
assistance. Dr. Gunz, from Hanover, was invited ; he
arrived safely, but at the second representation {Faust)
he fell ill, too, though but slightly. Last week he per-
formed the title-role in Thomas' Postillott of Longjumeau,
in which opera Mdlle. Minnie Hauck represented the
part of Madelein exceedingly well. We have been pro-
mised for our two next representations Fra Diavolo and
Fliegende Hollander, the latter one for the first time in
the new Opera House.

&eiWtD£u

Der Thurm zu Babel: Gelstllche Opcr in einem Aufzuge (The Tower
zu Babel: Sacred Opera in One Act). By Anton Rubinstein.
Op. 80. (Full Score and Vocal Score.) Leipzig: Bartholf
Senff.
The natural tendency of all creative art is to develop itself in new
forms, and strike out fresh paths. It would show either prejudice
or stupidity, if not both, to condemn a new work merely because it
differed from anything that had preceded it. An author has a right,
we conceive, to demand that his works shall not be measured by
comparing them with previous productions. If a new musical com-
position is of real value, its merit is not diminished, but enhanced, by
the fact that it in no ways resembles the great masterpieces of art
which are universally admitted to hold the first place. And when
one reflects how even honest and well-informed critics misjudged, on
their first appearance, the compositions of Beethoven, Weber, Spohr,
and others, and how, even in our own days, some now misunder-
stand such a writer as Schumann, it behoves a critic to be very
cautious how he pronounces judgment on a work in many respects
so unlike all received models as the one now under notice. It is,
therefore, not without some diffidence that we venture to express an
opinion that Der Tkurm zu Babel is a great mistake, affording
another instance of the truth that a great pianist is not necessarily
also a great composer. Seldom has a more thoroughly tantalising
work come under our notice. It is not that the music is weak — on
the contrary, there are occasional indications of unmistakable power;
but the composer is unfortunately a disciple of the ultra-modern
German school, who either cannot or will not write simply and
naturally. Herr Rubinstein seems to be suffering from a very severe
attack of " cadenzo-phobia. " Like Noah's raven, he wanders con-
stantly about, seeking rest and finding none. The opening chorus
of this work, for instance, " An's Werk, an's Werk !" (p. 12 of the
full score) commences with a broad subject for the orchestra ; but it
is repeated again and again, till it becomes perfectly tedious, until
the thirty-sixth bar. Here we touch the ground for an instant, and
seem coming to a close in the original key. But, no ! just as we are
about to take breath, the composer hurries us on again, and for
more than a hundred bars there is nothing approaching a full close
in any key. And the larger part of this long passage is made up of
disjointed phrases of one bar each for the voices, accompanied by a
common-place figure for the strings, which, after a few bars, be-
comes positively fidgeting in its iteration. Probably the composer
had the idea, by such treatment, of representing the ceaseless
activity of the builders of the tower ; but, if so, dramatic truth is
dearly purchased at the expense of musical beauty. An even more
striking example of over-development of a subject is found in the
double chorus, " Das Wunder hat Baal gethan " (full score, p. 86),
in which two or three somewhat common place and very frag-
mentary subjects are worked for 327 bars, the effect of the whole
being laboured and indescribably tedious. Heir Rubinstein seems
to endeavour to make up for poverty of idea by amplitude of treat-
ment. One chorus (p. 64) is written in 5-4 time, an affectation of
originality which is not justified by the effect. And now, having said
thus much in blame of the work, which we fear it is impossible to
consider a success, we must in justice add that there are some pieces
which are not only pleasing, but really fine. The best movement in

the work we consider to be the grand tenor scena for Abram, " Die
Wolken haben sich verzogen." The opening movement is, it is
true, somewhat dry ; but the remainder of the piece is beautiful — the
melodies are flowing, the rhythm decided (which, by the way, is
rather the exception in many parts of the work), and the scoring
most effective. It should be said here, in passing, that the orches-
tration throughout the work is very good — rich and full without
noise — if we except the chorus descriptive of the falling of the tower,
in which, of course, any quantity of " crash " was to be expected.
Another very good song, also tenor, is " Nicht is est Schwiile "
(p. 136), in which the rhythm again is clear and well marked. The
short bass air, " O, wie nichtig," is of a fine sombre tone, though
more vague in melody and less coherent than the two numbers
last specified. It will be observed that all the pieces cited as most
effective are solos. Is it unjust to the composer to infer that the
less he aims at, the better he succeeds ? We believe that if he would
but renounce his constant straining after effect and originality at any
cost, and resolve to write naturally, Herr Rubinstein is capable
of producing a work of far higher artistic value than Der Thurm
zu Babel.

Das Liebesmahl der Apostel : eine Biblische Scene, jiir Mdnner-
stimmen und grosses Orchester (The Love-feast of the
Apostles : a Bible Scene for Male Voices and Full Orchestra).
By Richard Wagner. New Edition. (Full Score and Vocal
Score.) Leipzig: Breitkopf and Hartel.
Those who expect to find in this work an illustration of Herr
Wagner's recent theories on musical art will be disappointed ; as,
although the present is a new edition, the work is an early one of
its composer's, having been written in the year 1845, between Der
fliegc?ide Hollander and Tannhiiuser. We may as well, before
describing it in detail, state our general opinion that it is one of
the most original, powerful, and beautiful compositions that have
for some time come under our notice. No one, we think, can rise
from a perusal of the score without feeling that, whether the whole
of it is to his taste or not, it is at least the production of a musician
of no common order. Judged merely by its length, it must be
called a small work ; estimated by its quality, we have no hesitation
in pronouncing it a great one. The subject of the piece is taken
from the fourth chapter of the Acts, from the 23rd to the 31st
verse. The opening movement, for unaccompanied chorus (of
Disciples), " Gegrusst seid, Briider ! " is of a quiet and flowing
character, though with very bold modulation. Still Herr Wagner
never (to borrow Mozart's phrase) " pulls in a key by the hair of
its head ; " and, though often abrupt and unexpected, the changes
of key are never unpleasing. At the words " Kommt her, ihr die ihr
hungert," a most charming phrase occurs, which is met with again
later in the work. After a full cadence in F (the original key of
the movement) the chorus is divided into three, the first choir
singing in unison, the second and third in four parts each. The
two latter are treated antiphonally, and the first is held in reserve
till nearly the end of the movement, when it enters with the melody
above referred to, "Kommt her, ihr die ihr hungert;" the effect
of the unison of the one choir through the tangled web of harmony
allotted to the other two being exquisite. The whole movement
is most admirable, and would, if well sung, produce an unmis-
takable effect. In the remainder of the work, the three choirs
are agafn united ; but a separate small chorus of twelve bass voices
(lhe Apostles) is added. These- voices frequently sing in unison,
but are sometimes divided into three or four parts. Alter the close
of the first movement, pianissimo in f, they enter boldly forte and
in unison in the key of d fiat, and are answered by the chorus of
Disciples pianissimo. After the Apostles have given their bene-
diction, to which the Disciples respond, a quick movement follows,
in which the former tell of the impending persecution — an occasional
question being thrown in by the chorus. The whole of this portion
of the music is highly dramatic, especially one point just at the
close, where, as the Apostles say they are forbidden to speak in the
name of Jesus of Nazareth, the chorus bursts in with an, as it
were, involuntary " Ach !" and then whisper to one another as if
terror-stricken the Apostles' concluding words, " Bei Todesstrafe. "
The third movement (marked sehr langsam), still without orchestra,
is, to our thinking, the least effective part of the work. The
opening bars, " Allmacht'ger Vater" are very fine, but the passage
on the words, "send' uns deinen heiligen Geist," is vague and un-
satisfactory. After a short movement (inasslg langsam) for " Voices
on high," of no particular note, we reach the point at which the
full orchestra is introduced; and a "full orchestra " it is with a
vengeance — only to be paralleled, perhaps, by some of those in-
dicated in the late Hector Berlioz's scores. In addition to the
ordinary stringed instruments, which in some places are divided
into eight or nine parts, we find a piccolo, two flutes, two oboes,
two clarinets, four bassoons, serpent, four horns, four trumpets,

THE MONTHLY MUSICAL RECORD.

[Feb. I, 1871.

three trombones, tuba, and four kettle-drums, three of which are
tuned to C, thus giving overwhelming force to the dominant pedal
with which this part of the music commences. We are now arrived
at the point where " the place was shaken where they were
assembled," and the pedal passage just referred to — thirty bars
in length — on which progressions of diminished sevenths rise
gradually to the extreme high notes of the orchestra, is intended
to depict the shaking. Beginning pianissimo, and swelling out
with a most imposing crescendo, the climax is reached at the for-
tissimo on the words " Gegriisst sei uns, du Geist des Herrn !"
where the common chord of F breaks in, like a blaze of sunlight,
after the long series of discords that has preceded it. The choral
passage is continued for some few bars, and is followed by a fine
piece of recitative for the twelve Apostles in unison, accompanied
by tremolos of the strings, while between each vocal phrase the
wind instruments are brought in — a bold passage for violoncellos,
horns, and trombones in unison being the chief feature of these
interludes. A short molto phi maestoso follows ; and it is curious,
by 'the way, to note that in the unaccompanied movements of this
work the time-indications are exclusively in German, while in the
parts accompanied by the orchestra they are throughout in Italian.
The concluding chorus, succeeding the recitative last mentioned,
opens with a melody of great breadth sung by the tenor voices,
and repeated with slight variation by the basses, accompanied by
a busy semiquaver figure for the violins, which, with only one
slight break, is continued throughout the movement. There is no
room for us to go minutely through this finale ; but we must
mention one point. At the return of the first subject, the melody
is sung by the whole chorus in unison, and accompanied by the
full orchestra with overpowering effect. A striking and very
original coda concludes the work, which is distinguished by a
breadth of style, a flow of melody, and a clearness of form which
can hardly be too highly commended. Those who wish to make
the acquaintance of Herr Wagner's music will do well to procure
this work ; for though, perhaps, hardly as representative of his style
as some of his more recent productions, it shows his power to
great advantage. We should, however, advise them, if accustomed
to score reading, by all means to get the full score ; for though the
piano arrangement is extremely well done, it necessarily gives a most
inadequate idea of such rich orchestration as the composer has
employed.

Franz Schuberts Violin-Quartette, Violin-Quintett, und Octett, far
Pianoforte zu vier Handen bearbeitet (Franz Schubert's Violin-
Quartetts, Violin-Quintett, and Octett, arranged as Piano
Duets). Leipzig : F. E. C. Leuckart.
It is only within a very few years that Schubert's claim to the posi-
tion of a great instrumental composer has been recognised, at least
in this country. And even now, we doubt if one in twenty of our
readers, if examined on the subject, would prove to be acquainted
with more than two or three of the series of works now before us.
Herr Leuckart has conferred a real benefit on musicians by pub-
lishing in a very elegant, cheap, and, above all, admirably arranged
edition, the whole of Schubert's chamber music for stringed instru-
ments which is at present accessible. It is probably not generally
known that there are no less than nineteen string quartetts by him
existing. Six of them have been published in separate parts ', and
two of these (in A minor and d minor) are, thanks to Mr. Arthur
Chappell, well known to the frequenters of the Monday Popular
Concerts. The great quartett in G, a worthy companion to that in
D minor, has also been performed there — we believe once only. This
wonderfully fine composition, owing to the peculiar passages for
the strings, is by no means easy to arrange effectively for the piano ;
but it has been capitally done by Herr Hiibschmann — the pathetic
slow movement, with its haunting melody for the violoncello, "comes
out " particularly well. Among the less-known works of this series
is the lovely quartett in E flat (Op. 125, No. 1), which has never, we
believe, been played in public in this country. It is one of its
author's most genial and melodious compositions, and, from its
being easier than most of the set to play, will be likely to be a
favourite both in the arrangement and in its original form. It is
remarkable as a, perhaps, unique example of a work of which all
four movements are not only in the same key, but built on the same
theme — the principal subject in each case being merely the diatonic
scale of e flat. Yet, by variation of rhythm, such a change of form
is imparted to the melody, that it is probable that many players
would not notice the similarity, unless their attention were especially
called to it. This quartett cannot be called a great work in the
same sense as those in D minor and G ; but, as music that is simply
charming, we know little or nothing to surpass it. The other quar-
tett of the same Op. (No. 2 in E) is but little inferior to it. The
great quintett in c, with two violoncellos, and the octett, are better
Known here, having been several times heard at St. James's Hall.

The numerous admirers of Schubert will, we are sure, be glad to
possess this complete and uniform edition of an important section
of his works.

Frithjof auf seines Vatcr's Grabhiigel : Concert-Scene Jv,r Bariton
Solo, Frauenchor, und Orchester (Frithjof at his Father's
Grave : Concert-Scena for Baritone Solo, Female Chorus, and
Orchestra). Von Max Bruch. Op. 27. (Full Score and
Vocal Score. ) Breslau : F. E. C. Leuckart.
The remarkable activity of German music-publishers, as com
pared with those in this country, would afford matter for curious
speculation. Here we have a work which is, we should think from
its form, not likely to have a very large circulation, issued not
merely in full score and vocal score, but also in separate chorus
and orchestral parts. ' There must either be a much larger demand
for such music in Germany than there would be here, or the pub-
lishers must be far more enterprising than the heads of the great
London firms. Herr Bruch is a very careful and painstaking com-
poser : with genius of a high order we should not, judging from
the present work, be disposed to accredit him. The scena is not
deficient in ideas, though these are neither very novel nor re-
markably pleasing ; but it is effectively written for the voice, and
capitally scored for the orchestra. A recitative in E flat leads to a
con moto in G, in which the melody is given chiefly to the in-
struments, the solo voice being in many parts quite subsidiary. To
this succeeds a chorus [adagio ma non troppd) in B major, with
very effective arpeggios for the violms, pizzicato ; and the work
concludes with a con fuoco ma non troppo vivace in E flat, and an
andante sostenuto in the same key, in which the chorus again joins
the solo voice, though now in quite a subordinate position, as it
merely strengthens the accompaniment, and the piece would sound
quite complete were there no chorus at all. The work is evidently
that of a practised writer, who knows how to handle his resources ;
but the divine fire which would give life to the whole is absent, not
can we award it a place in the first rank as a work of art,

Forty-eight Preludes and Fugues composed by J. S. Bach. Edited

by E. PAUER. (Octavo.) London: Augener & Co.
It would be absurd to say anything in recommendation of a work
so well known and so highly esteemed by musicians as Bach's
" Well-tempered Clavier ;" our duty on the present occasion will be,
therefore, restricted to noticing the appearance of this new and most
excellent edition, which has been issued under the superintendence
of Herr Pauer. The preparation of a good and reliable text of
this work is no easy matter, owing to the sometimes considerable
variations to be found in the different manuscripts and printed
editions. That now before us is conformed to the best copies, and
Herr Pauer has very wisely rejected Forkel's alterations and abridg-
ments in the preludes of the first part. He has also added metro-
nome marks throughout with great judgment. W:th respect to the
engraving, it will be sufficient to say that it is in the same clear and
elegant stvle as the well-known editions of Beethoven's, Mozart's,
and other great masters' pianoforte works published by this firm.
A short Life of Bach, and an excellent engraving of the well-known
portrait by Hausmann in the Thomas-Schulc at Leipzig, are pre-
fixed to the volume.

Myrthen (Myrtle-wreath). Twenty-six Songs by Robert Schu-
mann. Op. 25. Edited by E. Pauer.
Waldscenen (Forest Scenes). Nine Pieces for the Piano by Robert
Schumann. Op. 82. Edited by E. Pauer. London: Augener
& Co.
It is impossible to study thoroughly the works of Schumann without
being forced, if we are honest, to the conclusion that he was a man
of great poetic feeling. We will even go further, and say that he
was a great genius, but with an ill-regulated mind. An irresistible
impulse was constantly urging him to composition ; and perhaps
there is no writer whose works more faithfully reflect his every
changing humour. Unfortunately his zeal was not always according
to knowledge ; and, in consequence of his ceaseless activity in pro-
duction, we find, side by side with much that is imperishably
beautiful, crude and laboured passages, which mar, if they do not
destroy, the effect of many of his works. He seems to have been
deficient in severe self-criticism ; and therefore, in finished workman-
ship, his works will not compare with those of such a writer as
Mendelssohn. Yet they have a charm of their own to which no true
artist, though he be not blind to their faults, can be insensible ; and
the time, we believe, is coming when he will be valued here, as he
already is abroad, at his real worth. The " Myrthen," one of the
finest of his collections of songs, shows him to the best advantage.
They are not all of equal merit, but many of them are worthy to
rank side bv side with those of Schubert. Some few, such as

Feb. I, 1871.]

THE MONTHLY MUSICAL RECORD.

" Widmung," "Die Lotos-blume," " Du bist wie eine Blume,"
are already known here in other editions ; but the larger part will, we
think, be new to the English public. Some of the smaller songs, to
words by Robert Burns, are most exquisite, and purchasers will find
a perfect mine of enjoyment in the whole series. The amount of
really fresh and new melody is something surprising, and the accom-
paniments are most tasteful, though not always very easy to play
well. To those songs that were originally composed to German
words an English text has been excellently adapted, we believe by
Mr. H. Stevens.

The " Waldscenen" introduceus to a different phase of Schumann's
genius. Most of his piano works are what the Germans call
" Charakter-stucke," and what we may designate as Programme-
music — pieces in which the impression to be produced is explained
in the title. The present series is one of the most popular of these,
and well deserves its popularity. Though not easy to play (as,
indeed, very little of Schumann's music is), these pieces make no
extraordinary demands on the executant, and will be within the
reach of any good amateur performer.

Die Schone Miillerin (The Maid of the Mill). Twenty Songs by
Franz Schubert. Op. 25. Edited by E. Pauer. London :
Augener & Co.
Some of the songs included in this series are among the best-
known and most popular of this unequalled Lied-composer. Such
are the "Ungeduld" (Thine is my heart), and the " Trockne
Blumen" (Withered Flowers) ; but there are several others of the
same collection which, though not so frequently heard in public,
are quite equal in merit to those just named. Among these we
would specify the "Halt" (Halt by the Brook), with its delicious
accompaniment, the "Am Feierabend" (After Work), the " Mor-
gengruss " (Morning Greeting), and, to our taste the most charm-
ing of all, the " Miiller's Blumen" (The Miller's Flowers). But,
in truth, the whole set is so melodious and characteristic of its
author, that it is difficult to give preference to any particular
number. Perhaps no composer ever possessed the heaven-sent gift of
melody in such profusion as Schubert. It may be mentioned, as
an example of his wonderful fertility of invention, that if he was
dissatisfied with his first setting of a song, he would write another
rather than take the trouble to revise what he had already done.
None of the great masters, excepting Beethoven, repeats himself so
seldom as Schubert. Among more than 360 of his published songs,
we doubt if any two can be said to resemble one another. His
melodies are always fresh and new, and almost always really
beautiful. It was with reference to this very collection of songs,
among others, that Beethoven, shortly before his death, exclaimed,
"Truly, Schubert has a spark of the divine fire !" The present
edition is beautifully engraved, and, besides the original German
words, has an English version by Mr. H. Stevens, which may be
specially commended for its fidelity to the original.

The Royal Edition of Operas. La Sonnambula. By Bellini.

Martha. By Flotow. London : Boosey & Co.
Truly this is the age of cheap music ! We are perfectly aware that
this remark is not by any means new ; but such editions as these
bring the fact irresistibly before us. Here we have the complete
vocal score of an entire opera, with English and Italian words, for
half-a-crown. We shall be much surprised if this edition does not
induce at the opera the same custom which already prevails at
oratorios, of following the performance with a copy of the music,
instead of merely with a book of the words. Of works so well
known as La Sonnambula and Martha, it is quite needless here to
speak, but we must say a word in praise of this very good and con-
venient edition. It is brought out under the careful superintendence
of Mr. Arthur Sullivan ; the pianoforte arrangement of the instru-
mental parts is well done, and effective, without being needlessly
difficult ; and the type, though small, is remarkably clear and easy
to read. The publishers put forward, on the covers, a most attrac-
tive list of promises for the remainder of the series, which will include
many operas that have not (we believe) been hitherto published
with an English text. Among them musicians will be especially
interested to see the name of Wagner's L'lying Dutchman, which
was produced with so much success at Drury Lane last summer.
We cordially recommend "The Royal Edition of Operas " to the
notice both of professors and amateurs.

MUSIC RECEIVED FOR REVIEW.
Ellerton, J. L. " A Dream of Spring. " (Lonsdale.)
Old, John. " Gossamer Wings. " (Ashdown and Parry.)
Willey, J. P. " The Bride of Lorn Waltzes. " (Hime & Son. )
Wrigley, J. G. " Heroic March," by F. Schubert, arranged for
the Organ. (Forsyth Brothers.)

Conmte, Set*

SACRED HARMONIC SOCIETY.

The directors of these concerts confine the performances, for the
most part, to works so universally known that any detailed criticism
is unnecessary. What can be said that is new about such works
as the Messiah and Elijah ? There is, therefore, no occasion to
do more than record the concerts of the past month.

The customary Christmas performances of the Messiah were given
on the 23rd and 30th of December last. The principal vocalists on
the first occasion were Mesdames Sinico and Viardot-Garcia (the
latter of whom has not been heard in this country for some years),
Mr. Vernon Rigby, and Signor Foli. At the repetition of the
oratorio in the following week, Mr. Santley replaced Signor Foli,
the rest of the cast being unchanged.

On the 20th of January Elijah was given, the principal soloists
being Miss Edith Wynne, Miss Julia Elton, Herr Nordblom, and
Mr. Santley, the last-named probably the best representative of
the Prophet now before the public. The ladies are both well known
as able exponents of the highest class of music. Herr Nordblom
sang the tenor solos allotted to him with care and taste. The band
and chorus, under the direction of Sir Michael Costa, were as good
in these concerts as they almost invariably show themselves.

MONDAY POPULAR CONCERTS.

The first concert after Christmas (on the 9th of January) was
signalised by the re-appearance of Madame Szarvady (better known
to the musical pnblic as Madlle. Wilhelmina Clauss) and Signor
Sivori. It is now many years since the former appeared in this
country, and earned a great reputation as a pianist and an able
exponent of the highest order of classical music. She has returned
with undiminished powers, which were fully appreciated by the
connoisseurs who frequent the Monday Popular Concerts. She
selected for her solo Beethoven's sonata in c sharp minor (the so-
called " Moonlight Sonata "), her execution of which, whether as
regards mechanical accuracy or intellectual interpretation, left
nothing to be desired. She also took the piano part in Schumann's
superb quintett in E flat — one of its author's finest and most
characteristic works. It speaks well for the growing appreciation
of Schumann's music in this country, that never has the quintett
been (to judge from its reception) so thoroughly enjoyed by the
audience as on this occasion. A strong desire was manifested for
the repetition both of the slow movement and the scherzo, but the
encore was wisely declined by the performers. Signor Sivori played
Beethoven's romance in F (originally written with orchestral accom-
paniments) in his well-known finished manner, and also led Mozart's
quartett in G (No. 1 of the set dedicated to Haydn), being ably
supported by Messrs. L. Ries, Strauss, and Piatti ; the four
gentlemen also joined Madame Szarvady in the quintett. Herr
Stockhausen was the vocalist, and Mr. Benedict, as usual, the
accompanist.

On the following Monday (Jan. 16th) Madame Szarvady was
again the pianist, and played Schumann's remarkable ' ' Variations
Symphoniques " in C sharp minor — a work, like most of its author's
more important compositions for the piano, of great individuality,
and of no ordinary difficulty, She also played with Madame
Norman-Neruda Mozart's sonata in F (with the variations) for piano
and violin. The remaining instrumental pieces were Mendelssohn's
piano quartett in b minor, Op. 3, and Haydn's string quartett in D
minor, Op. 76. Madame Neruda led the quartett, the other stringed
instruments being taken by Messrs. L. Ries, Strauss, and Piatti.
Herr Stockhausen was again the vocalist.

We have only space to add that at the concert on the 23rd, the
chief items of the programme were Schubert's quartett in A minor
(Op. 29), Mendelssohn's great fantasia for piano solo, Beethoven's
trio in c minor (Op. 1, No. 3), and violoncello solos by Bach. Miss
Agnes Zimmermann (whom we always hear with pleasure) was the
pianist, and Madame Norman-Neruda again the first violin, the
remaining parts of the quartett being filled as usual.

CRYSTAL PALACE SATURDAY CONCERTS.

The first Concert of the second series for the present winter was
given on Jan. 2ists when the principal instrumental piece was
Schubert's unfinished symphony in B minor. This work, un-
doubtedly one of the most fascinating and poetical of its author's
compositions has, as many of our readers will be aware, been only
recently rescued from obscurity. It was published by Spina, of
Vienna, in the spring of 1867, and was first played in this country
at the Crystal Palace, on the 6th of April of the same year. We
may safely say that a finer performance of it has never been heard
Jhan the one now under notice. The attention to every mark of

THE MONTHLY MUSICAL RECORD.

[Feb. i, 1871.

expression and phrasing by the whole orchestra was faultless, and
the exquisite solos for the wind instruments in the Andante con
moto, left absolutely nothing to desire, either in tone or style.
The instrumental soloist was Madame Norman-Neruda, who gave
a most admirable rendering of Mendelssohn's only concerto for
the violin. Her performance of the slow movement was par-
ticularly remarkable for the beauty of its cantabile playing, and
for its expression — genuine and artistic, yet without the slightest
touch of exaggeration. The overtures to Medea and Guillaume
Tell, which began and closed the concert, were both played to
perfection. The vocalists were Mdlle. Corani and Herr Stock-
hausen.

On the following Saturday (the 28th) Mendelssohn's Italian Sym-
phony, and a concerto of Mozart's, played by Mr. Charles Halle",
were the principal pieces performed. We shall give particulars in
our next number.

MONTHLY POPULAR CONCERTS, BRIXTON.

The fourth concert of this series took place on the 17th ult., when
a specially interesting programme was provided by the director,
Mr. Ridley Prentice. It opened with Schubert's lovely trio in B
flat, Op. 99, to which full justice was done by Messrs. Henry
Holmes, Piatti, and Ridley Prentice. A most praiseworthy feature
in the programme was a performance by Messrs. Henry Holmes and
Prentice of Mr. Walter Macfarren's sonata in F, for piano and violin.
It is probably because of the too infrequent opportunities of per-
formance that so few classical works are produced by English
musicians. Mr. Prentice had already, at his first concert, been
enterprising enough to perform Lady Thompson's trio in D minor,
and the favourable reception awarded, both to that work and to the
sonata on the present occasion, will, we hope, encourage him to
take further steps in the bringing forward of native talent. Mr. Mac-
farren's work is in four movements, written in strictly classical form,
and showing not merely a practised hand, but considerable resource
both of melody and development. The second movement, a
romance in A major, is perhaps the most original and striking
portion of the work ; but the whole sonata may be commended as
well worthy of a hearing. On this occasion it was admirably played.
The same may be said of Mendelssohn's well-known sonata in D, for
piano and violoncello, which followed, in which Mr. Prentice secured
the invaluable co-operation of Signor Piatti. The last piece in the
programmewas Beethoven's " Sonate Pathetique," admirably played
by Mr. Prentice, whom we cannot praise better than by saying that
his performance throughout the evening was worthy of his co-
adjutors. The vocalist was Madame Dowland, who in the music
allotted to her displayed a charming and sympathetic voice, and a
cultivated and musician-like style. The concert was well attended.

BALLAD CONCERTS, ST. JAMES'S HALL.

Mr. Boosey has been giving on successive Wednesdays a new
series of these highly popular entertainments, and by a judicious
admixture in the programmes of things new and old, as well as by
securing the services of many of our principal public performers,
has made them thoroughly attractive. There are thousands who
would never go to St. James's Hall to hear a quartett or a sonata,
that can thoroughly appreciate a "good old song;" and for this
numerous class the Ballad Concerts supply exactly what they like.
Out of the six advertised, four have already taken place ; the re-
mainder will be given this month.

ITALIAN OPERA BUFFA COMPANY.

As announced in our last number, the above company commenced
its season of performances on the 2nd of January, at the Lyceum
Theatre — a house much better suited for the lighter class of operas
than the larger buildings of Covent Garden or Drury Lane. The
singers engaged are mostly very good ; though, as far as we can
judge at present, there is no one member of the company likely to
become a star of the very first magnitude in the musical world.
Madlle. Veralli has a very agreeable and flexible mezzo-soprano
voice, and sings in an artistic manner. Madlle. Brusa, Madlle.
Colombo, and Madlle. Calisto can also be commended ; as may
Signori Piccioli, Torelli, and Rocca. Signor Borella is a most efficient
buffo singer, and likely to be a popular favourite. The orchestra
and chorus are both well up to the mark ; and the conductor, Signor
Tito Mattei (hitherto chiefly known as a brilliant pianist), displays
considerable qualifications for his office.

The work selected for the opening night was Rossini's L'ltaliana
in Alger v, a good example of its composer's lighter style, though by
no means equal to // Barbiere, which was written three years after-
wards. To L'ltaliana succeeded II Barbiere and L'Elisire a"

Afnore, and on the 17th the first important promise of the pro-
spectus was redeemed by the production of Signor Bottesini's new
opera, All Baba. Without being able to call this a great or very
original work, we can credit it with much pleasing and lively melody,
and considerable dramatic feeling. Signor Bottesini also writes very
effectively and gratefully for the voice. The opera was very favour-
ably received, and the performance' (which was conducted by the
composer) did full justice to the music.

On the 24th Ricci's lively opera, Crispino e la Comare, was pro-
duced, the principal part being sung by Madlle. Colombo.

iftusfaal $.ott$.

Madame Schumann announces two recitals of pianoforte
music, to be given at St. James'6 Hall, on the 1st and 8th of the
present month.

Mr. Barnby's Oratorio Concerts are to be resumed on the
15th instant, when Bach's Passion according to Matthew is to be
performed.

Mr. Joseph Surman, the founder, and for many years the con-
ductor of the Sacred Harmonic Society, died on the 20th ult.

Violin players will be interested to know that very effective
arrangements for a string quartett of Mendelssohn's Overtures have
lately been published by Breitkopf and Hartel of Leipzig.

Herr Anton Rubinstein, the renowned pianist, has been
giving two concerts with brilliaiik. success at Odessa.

Alexis Lvoff, the composer of the well-known Russian
national hymn, died at Kowno on the 28th of December last, at
the age of 71.

Mr. Thayer has lately completed the second volume of his
great " Life of Beethoven."

Wagner's music seems to be making its way even in Italy. The
" Societa Lirica " of Florence is preparing a performance of portions
of the Lohengrin.

"THE MONTHLY MUSICAL RECORD."

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SYDNEY SMITH'S

FAVOUKITE PIANOFOETE COMPOSITIONS.

Op. 5. The Hardy Norseman. Brilliant Fantasia o

Op. 6. La Dame blanche. Fant. elegante .. .. .. .. o

Op. 7. Lucia di Lammermoor. Transcription brillante . . . . o

Op. 8. Tarantella in E minor. Dedicated to E. Pauer. Twentieth
Edition .. .. .. .. ,. .. .. .. .. o

Critique to thbThird Edition. — "Whena piece has reached
its third edition, all we can do is to quote Johnson's remark upan
Gray's ' Elegy' — ' It is vain to blame and useless to praise it.'" —
Musical Standard.
Op. 9. La Gaite. Grand Galop brillant .. .. .. .. o

Op. 10. Un Ballo in Maschera. Transcription brillante . . . . o

Op. 12. Souvenir de Spa. Melodie de Servais, transcrite et variee o
Op. 13. The Mountain Stream. Characteristic Piece .. .. o

Op. 14. The Lily of the Valley. Mazurka

Op. 15. The March of the Men of Harlech Brilliant

Op. 16. Freischiitz. Grand Fantaisie de Concert

Op. 22. La Cascade de Rubis. Morceau elegant

Op. 23. The Village Festival. Scene du Ballet

Op. 25. Mazurka des Ulans

Op. 26. Dreams of the Forest. Lied ohne Worte

International Fantasia (on national airs)

London: AUGENER & Co.,

Beethoven House, 86, Newgate Street; and. Foubert's

Place, Regent Street. Brighton : 1, Palace Place.

Fantasia

March I, 1 87 1.]

THE MONTHLY MUSICAL RECORD.

Cjje Ufontjjlg Btxtskd $cr0rir.

MARCH 1, 1 87 1.

THE PROGRESS OF MUSIC AS AN ART.

If the public of the present day could only be convinced
that art in its very nature is progressive, the tendency
which now exists among us to depreciate the works of
great modern artists would soon diminish, if not dis-
appear. We should be wrong, however, if we were to
assert that this disposition to depreciate what is new is
peculiar to the present time, or is confined to art in this
or any past age. But it is not now our object to deal
with this tendency in a general way ; we mean to limit
our remarks to its effects upon art, and chiefly upon
music. As regards the sister arts of painting and poetry,
the tendency to depreciate is more comparative than
positive : it extols the old at the expense of the new, thus
increasing the distance, so to speak, between them. But
in music it is positive as well as comparative in its de-
nunciations. We shall take these two points and examine
them, in order, as we hope, to prove how inimical they
both are to true progress.

Firstly, comparative disparagement. When a new com-
poser enters the field of criticism, probably the first
enemy he will have to encounter will be comparison with
another and older writer. He will most likely have put
himself in the way of this enemy, by having adopted
either the school or the style of this other composer.
" Plagiarist " will in all likelihood be the title applied to
him. In the early part of his career, even the great
Beethoven laid himself open to these criticisms. But by
degrees his great genius worked out its own original and
grand style, and eclipsed his earlier productions. He had
also to deal with a nation which, at all events by its
acts, encourages the young composer of promise, and does
not indulge to such an extent as we do in comparative
disparagement. But there is another and still more unjust
comparison brought to bear on composers, and that too
on the greatest, more than on the least. It is that of
comparing those of different schools with each other, and
especially the old with the modern, to the disadvantage
of the latter. As an example let us take the Messiah
of Handel and the Elijah of Mendelssohn — the former
essentially ideal in its form and argument, the latter as
essentially real and dramatic — and see how they are
treated by modern critics. " The Elijah is very beautiful,"
say they, " but then the idea of preferring it to the Mes-
siah!" Consider that some minds may be more fitted to
admire a dramatic reality, while others are more capable
of appreciating the ideal ; and therefore that each work,
in its own school, may be equally good. But comparison
is also applied to works of the same nature, even though
the composers be for the most part of different schools :
for instance, to the "Why do the Nations" in the
Messiah, and "Is not his Word" in the Elijah, both
being of much the same style. Public criticism will say,
simply because Handel has written " Why do the Na-
tions," that it is a far finer piece than " Is not his Word ;" I

whereas if Mendelssohn had written it instead of Handel,
it would in all probability have been said, that both its
form and realisation of ideas were behind his age. Yet
this criticism would not disparage Handel in any way, for
in his age " Why do the Nations " was certainly as won-
derful, indeed far more so, than Mendelssohn's song is in
ours. But if art is really progressing, it would be utterly
contradictory to all reason to say that Mendelssohn's song
is not an advance on Handel's. In like manner we might
speak of other parts of the Messiah and the Elijah.

We now come to consider, secondly, what we have
already called positive disparagement. The most common
form of this is prejudice, and a very strong and stubborn
enemy to the composer this is ; in fact, none more so. This
prejudice most commonly has its root in ignorance of the
work it disparages. There is a modern composer, whose
music has been met in this country with more opposition
than any of the writers of the present day, and is still
so to a great extent ; that composer is Robert Schumann.
Against him people are prejudiced because they are
ignorant, and ignorant because they are prejudiced. Let
us hasten to do away with this ignorance, and thus
remove the prejudice, which hinders us from rendering to
such a man the homage of our just appreciation. One
who scorned all the applause and popularity which he
might easily have gained, in order to be a true benefactor
to the art of music ; a man whose poetry of feeling was
unsurpassed, and whose enthusiasm was as vast as it was
real ; this is the man whom we in England, we, the so-
called patrons of the arts, have allowed to be passed over
in silence or contempt, and the majority of whose works
are still untried, except by his few admirers. A noble
return, truly, to the memory of one who sacrificed his
popularity to further the progress of his art ! And
furthered it he has, let his enemies (if they can be so
called who condemn him in ignorance) say what they
will. Bach was not understood in his own day, nor is he
yet ; Beethoven was not ; nor is Schumann now. And
why? Because to each the object of his life was the
improvement of his art. And the reason of this is not far
to seek. The greater the advance made by any artist, the
less possible is it that he can be duly appreciated by
contemporary minds. He is in advance of his age, and
education and training must bring the world's mind up to
his level, before his merits can be appreciated. If we
look into the past, we see that each succeeding generation
is educated up to the standard left by the advance of that
which is passing away. The genius of the past age sows
the seed for the progress of the future. The natural result
of this is an opposition to improvement, which has mani-
fested itself in every age, not only in music, but also in
every department of art and science. But advance in the
enlightenment of each succeeding age ought to make it
more willing, as well as more able, to appreciate living
genius. Let us who boast of our progress give evidence
that it is no vain boast, but a reality, by appreciating the
genius that may be working in our midst, and not require
that a generation should pass away before the great works
of this present genius should reap their well-earned
honours. The greatest nation of artists has said that "in
art, improvements must ever prevail." Let not the greatest
nation of art's patrons seek to disprove the assertion.

THE MONTHLY MUSICAL RECORD.

[March i, 1871.

FRANZ SCHUBERT'S MASSES.

BY EBENEZER PROUT, B. A.

{Continued from page 16.)

2. THE MASS IN G.

Schubert's second mass, like his first, was written for
his own parish church of Lichtenthal ; but unlike the
first, it appears to have been designed for the ordinary
service, and not for a special festival. This is evident
from the smallness of the orchestra for which it was
composed, which consists only of a stringed quartet, with
two trumpets, drums, and organ. Several of" the move-
ments are accompanied by strings only. It was written
in March, 1815, and was specially intended for his fellow-
pupils under Holzer, who (as mentioned in noticing the
mass in f) was his instructor in singing. As an example
of the ingenious treatment of a small orchestra, and the
skill with which a few instruments can be made to do
duty for many, this mass may pair off with those which
Mozart wrote for Salzburg.

The " Kyrie " of the mass in G (G major, § , andante con
moto, 99 bars) opens with a theme of extreme simplicity
for the chorus, accompanied by the strings in unison.
The trumpets and drums are not used in the movement,
and indeed would have been out of keeping with the cha-
racter of the music. The first eight bars are as follow: —

„ .-, Viol.

Ky - ri - e, e - lei -

A A J*4 A ■

Ky - ri •

A A

Five bars later follows a cadence in D, and after two bars
of symphony the first four bars are repeated ; but instead
of continuing the phrase as before, the author modulates
with surprising beauty of effect into A minor, in which
key, after two more bars of interlude, the "Christe" begins
as a soprano solo —

Vtii. 1, 2. Va

The effect of the pizzicato of the basses in this place is
characteristic of Schubert, and recalls the similar employ-
ment of the double bass in the first allegro of his piano-
forte quintet. The music is continued in the same strain
for sixteen bars, when the chorus enters, and through
beautiful modulations, which unfortunately space forbids
quoting, finally settles down calmly on a dominant seventh
on D. The return to the first theme is so charming that
we must find room for it.

uzn

j=j=j=

'■%.-%. * #~fc:* *t*~jj:* * *~**

Sop., Alto

:K I

*?%

zj i- i.-gHjgzz;

Chris

*=£--

- - . te,

Chris -

Ten. Bass. A-

zpfei:

- lei
- te,

■M

IjLjl

Bassi. pp "

t?r-

In the next bar the opening subject returns, and the first
sixteen bars are repeated without change, and are followed
by a full cadence in the key of G. As if, however, the
composer were in love with his music (as well he might
be) and could not bring it to an end, he prolongs the final
close, by means of a pedal point of great beauty, for eight
bars more, finishing, as in the mass in F, pianissimo. A
quiet devotional spirit breathes through the whole of this
" Kyrie." One can feel quite sure that the author threw
his whole soul into the music, and, if a conjecture may
be hazarded from the unity of the whole, it was probably
thrown off with that rapidity of production which was
one of Schubert's most striking peculiarities. The whole
of the mass, indeed, was written in six days.

The " Gloria" (d major, B, allegro maestoso, 86 bars) is
remarkable for its conciseness, being in one movement
without change of tempo throughout. But though so
short, the stamp of genius is impressed on every page.
By the frequent use of " double string" notes and chords
for the stringed band, a surprising fullness and richness
of effect is obtained ; so much so, indeed, that it is doubtful
if any one hearing the mass with orchestral accompani-
ment would notice the absence of the usual wind-instru-
ments at all, unless his attention had been previously
called to it. The trumpets and drums, though treated in
the conventional manner, and not with the novelty of
effect to be met with in Schubert's later works, give great
brilliancy to the whole. The first entry of the voices on
the chord of %, instead of on the common chord, at once
arrests attention —

Allegro Maestoso

March r, 1871.]

THE MONTHLY MUSICAL RECORD

At the word " pax " ("et in terra pax") the chorus subsides
to a piano, with a moving accompaniment for the violins
in octaves, proceeding to a half-close on A. It is curious
that the following words, " Laudamus te," &c, seldom seem
to have inspired Schubert with any great ideas. Except
in his last mass in E flat, his setting of these words is
always trite and commonplace. The progression of chords
at this point in the work under notice is identical with
that in the mass in B flat, which will next come under
review. The violin accompaniments are brilliant and
spirited, but the phrase itself is " as old as Adam."
Ample amends are made, however, in the passage that
follows — a lovely pedal point piano, at the words "Gratias
agimus," succeeded by the subjoined bold and forcible
setting of the "Domine Deus :" —

CJS3

Bassi ( Va. all Zva.)

(Orck. sim.)

To save space, the accompaniments are omitted after
the first three bars. At the fifth bar of the above extract
the first violins take up the scales instead of the basses,
while the other strings play a tremolo in unison with the
voices, the trumpets and drums marking the rhythm
throughout the phrase. Four bars more, on the chord of
E major, lead to a pause, followed by a passage in which
the soprano and bass voices soli, are joined by the alto
and tenor tulti — a combination which, as far as I am
aware, is not to be met with in any other work. And
here is an appropriate place to remark on the carelessness
with which Schubert treats his words. In not a single
one of his masses are the whole of the words properly
set to music. In the "Gloria" now under notice, the
words " Qui sedes ad dexteram Patris," are omitted alto-
gether ; and in all his masses, excepting that in F, absolute
nonsense is made of one passage of the " Credo " by the
omission of the words " Et expecto resurrectionem ; '»
which omission makes the context read " Confiteor unum
baptisma in remissionem peccatorum mortuorum" — that
is, " I confess one baptism for the remission of dead
sins." But to return to this movement: at the "Quoniam"
the theme of the " Gloria " is resumed, but only for four
bars, and from this point our author appears to have
hastened to his close. There is no fugue here, as is so
usual at the end of this portion of the mass, but instead
a very brilliant coda, with massive chords for the voices,
and grand sweeping arpeggios for the orchestra, some-
what in the style of the " Credo " of Beethoven's mass in
C, though not at all imitated from it. And then, most
curiously, after a remarkably effective and vigorous pas-
sage, Schubert finishes the whole movement in the follow-
ing singularly unsatisfactory and uncomfortable manner —

Undoubtedly such a close is original. Whether it is
equally pleasing, is at least an open question.

The " Credo" (g major, allegro moderate, 188 bars) is
by far the longest portion of the mass. Like the "Gloria"
it is in one movement throughout. The greater part of
it is accompanied merely by the strings, without even the
organ. In its general character it resembles the "Credo"
of the mass in F. Singularly enough, the opening bars
are identical with that in melody, though the difference in
rhythm and accompaniment would easily cause the simi-
larity to escape notice. It begins thus —

Bassi.

t
iff

Pa - trem om

^44

- ni -

po -
I~t

■ tent - - -

- em, &c.

<">

• C '. '• — ^

-Mr

TrJ*\
lj 1

htr-^

+++^

While the basses march along with their stately progres-
sion of staccato crotchets, the other parts of the quartet
play sustained notes in unison with the voices. The
music is continued in the same style ; and at the 49th
bar, at the words " Qui propter nos homines," the figure
of crotchets is taken up by the violins in octaves, but
legato instead of staccato. At the " Crucifixus " the
moving figure is given to the whole string band forte in
unisons and octaves, while the voices, in B minor, declaim
the words in long holding notes, affording a bold contrast
to what has preceded, and thus avoiding the monotony
which would have been produced by too long an adhe-
rence to one model. At the " Et resurrexit " the music
modulates to D major (fortissimo) and the trumpets,
drums, and organ are brought in for the first time. Not
for long, however, does the composer use all his resources.
At the " Credo in Spiritum sanctum," the first subject
returns, and from this point all the instruments except
the strings are silent till the end of the movement. The
effect of the whole "Credo" is solemn and impressive.
Schubert evidently felt that in rehearsing the articles of
faith, seriousness was the appropriate state of mind ; and
there is more solemnity in the " Credos " of his masses
in F, G, and E flat, than in any others with which I am
acquainted. Surely such a rendering of the words is

THE MONTHLY MUSICAL RECORD.

[March I, 1 87 1.

more suitable to the subject than the choruses to be
found at this point in Haydn's and Mozart's masses.

It is curious that both in this mass, and in the one in
F, no importance is given to the " Et incarnatus," which
in most masses is treated as a separate movement, and in
many is one of the most striking portions of the whole.
One has only to recall the setting of these words in
Haydn's first or third mass to be struck with the
difference.

The " Sanctus " (d major, g, adagio maestoso, 9 bars ;
" Osanna," allegro, |, 28 bars) opens in a bold and
striking manner ; the voices entering, as in the " Gloria,"

on the chord of £, but this time on a C t] in the bass.

2
The accompaniment, with its full chords and wide-
spreading harmonies, gives quite the effect of a large
orchestra. At the words " Pleni sunt cceli," the music
suddenly modulates into the key of B flat, returning, in
the last bar of the adagio, through the chord of the
extreme sharp sixth to the dominant of the original key.
A short fugato "Osanna" succeeds, of no particular
interest or originality, though the coda with which it
finishes is brilliant and effective. The " Benedictus,"
(G major, |, 54 bars) is one of the finest inspirations of
the whole work, and is a worthy companion to the same
movement in the mass in F, which in its construction it
much resembles. It is a lovely canon for soprano, tenor,
and bass soli, accompanied only by the strings. After
three bars of prelude for the orchestra, the following
theme is announced by the soprano : —

- Soprano Solo. , ^ .,

Be- ne - diet - us qui ve - nit in no- mi-ne Do - mi-

ni, be

Do - mi- ni,

ne - diet - us qui ve - nit in no - - mi-ne

be - ne-dict - us, be - ne- diet - us qui

As in the mass in F, the accompaniment is varied as each
additional voice enters — the soprano solo just quoted
being simply accompanied in quavers ; then when the
second voice (the tenor) enters, a figure of semiquavers is
given alternately to the first violins and basses, while the
other parts fill up the harmony with iterated notes ; and
on the entry of the bass, triplets are introduced into the
middle parts, while the first violins and basses continue
their semiquaver figure, as before. The canon is strictly
maintained by the voices to the end of the movement ;
and the melodious way in which the other two voices
twine round and interlace with the principal subject is
worthy of the highest admiration. A repetition of the
" Osanna" already mentioned brings this portion of the
mass to a close.

The " Agnus Dei " (E minor, G, lento, 44 bars) is the
shortest, and most assuredly one of the finest and most
impressive portions of the mass. The deepest melan-
choly pervades the opening. After a symphony of five
bars, in which the melody is given to the lower notes of
the second violins, while the first violins have a moving

figure above in quavers and semiquavers, a soprano solo
enters with the following pathetic theme : —

Sop.

un- di, &C.

After three bars more the chorus enters pianissimo in D
major. The sudden change of key is beautifully expres-
sive of the assurance that the prayer for mercy will not
be in vain. The whole phrase for the chorus is so ex-
quisite that room must be spared to give it in full : —

Coro. (sir. unis.)

mi - se • re - re no

Viol. 1— g p— )

1 _

- bis,

The first symphony is then repeated in the key of B
minor, and the opening solo is given by the bass voice in
the same key, followed by the choral phrase in A major.
For the third time the opening subject recurs, again for
the soprano, and now in the key of A minor, in which, as
the melody lies wholly in the higher notes of the voice,
additional pathos is given to it, and it becomes a cry of
agony. But at the words " Dona nobis pacem," the
music subsides into the key of G, and for the last time
the choral phrase quoted above is repeated to these
words ; the last two bars being echoed, after the voices
have ceased, on the lowest notes of the strings, still
pianissimo j and in the most subdued yet most effective
manner the mass concludes.

It seems impossible for any one acquainted with our
author's masses to concur in the opinion of this one given
by Kreissle von Hellborn in his Life of Schubert (English
translation, vol. ii., pp. 240-242). He says among < other
things, " On the whole the noblest of Schubert's known
masses is that in G." The inference is almost irresistible
that the writer knew neither the mass in F nor that in E
flat. If the "known" masses did not include these two,
the judgment is correct enough ; but most certainly the
mass in question is equalled by that in F, while it is far
surpassed by that in E flat. Then he talks of " the joyful
' Dona nobis,'" and the concluding " Kyrie" (!) The con-
fusion here is inexplicable. There is no separate move-
ment for the " Dona," and every one knows that a mass
never concludes with a " Kyrie " at all. One can only
wonder at the strange statement, and leave it unexplained.

A notice of this work would be incomplete without
reference to the remarkable fraud practised in connection
with it. Robert Fiihrer, a composer and organist of Prague,
who died a few years ago, had the unparalleled audacity to
publish this mass as his own composition ; and the parts
used for preparing the score from which the quotations
in this article have been taken bear his name on the title-

March I, 1871.]

THE MONTHLY MUSICAL RECORD.

page. It seems almost incredible that such a deception
could have been successfully carried out ; and it gives a
conclusive proof of the utter neglect of Schubert's more
important compositions, that the imposition should only
recently have been exposed.

TWO PUPILS OF CLEMENTI,

JOHN BAPTIST CRAMER AND JOHN FIELD.

Extracted from a Lecture at the South Kensington Museum.

By E. PAUER.

A UNIVERSAL favourite is John Baptist Cramer. Although
born in Germany of German parents, he resided from
childhood in England, and had adopted English manners
so thoroughly that even his exterior was completely
English. What added to it was his inability to speak
his native tongue. His compositions are, so to speak,
those of a gentleman. He always tells us agreeable
things ; the dress in which he presents his musical
thoughts is clean, well made, and of the best material ;
he never offends our ear with harsh or ill-prepared
changes. But what is the most important attribute of
a real gentleman, Cramer possesses also in high degree
— it is solidity and truthfulness. Our pulse will not beat
more quickly when we hear Cramer's music, but we
experience the sensation of a comfortable contentment,
just as if we had to do with a thoroughly honourable
man. We feel safe, and a certain friendship will soon
attach us to him. Strange it is, that besides " Cramer's
Studies " — a work known in every quarter of the globe —
none of his other compositions are played. He published
about 105 sonatas, concertos, &c. ; but who hears of
them ? On examination we shall find that they contain
much antiquated matter, and that it is not entirely the
fault of the musical world that they have sunk into
oblivion. We find that many a composer may be happy
in the invention, and thoroughly successful in the con-
struction of a smaller piece, but yet meet with little favour
when attempting larger, broader forms. Such was the
talent of Cramer. His studies are completeness itself;
they are finished with every care, they are harmonious
in all respects— in short, they are classical. Pie shows in
them that he is well acquainted with Bach, Haydn,
Mozart. Particularly happy he is in the legato style and
in his part- writing. It is music which possesses the
spontaneity of Haydn, the grace and charm of Mozart,
and the solidity of Bach. Added to this is the conscious-
ness of the great importance of technical execution, with
which he seems to have been inspired by Clementi.
Cramer possesses more refinement and warmth than
Clementi. The latter was eminently clever, but, like
almost all Italian instrumental writers, cold. Cramer is
clever, and has the true South German feeling. Although
a pupil of Clementi, he leans more towards Haydn and
Mozart. Clementi added to the great progress which
pianoforte music made by Mozart, the brilliancy and
charm of technical execution. Cramer, imbibing Mozartish
notions, followed dementi's direction, but refined it ; he
possessed eminently the quality of blending and amalga-
mating the merits of both.

With Beethoven Cramer could never be compared ;
he has nothing whatever in common with that mighty
genius. Beethoven stands out quite alone in the history
of pianoforte music. It might be said that " Cramer's
Studies" represent the process of purification of technical
execution up to the time of Clementi. Whilst Clementi
is sometimes rough, uncouth in the studies of the " Gradus
ad Parnassum," Cramer polishes off every little edge,

smooths all roughness, and gives such an agreeable lustre
to it, that the ear is pleased in listening to those har-
monious sounds. Cramer profited by the steady im-
provements of the English piano. The more sonorous
its tone became, the deeper the fall of its key, the greater
invitation it held out to that highest beauty of pianoforte
playing — the legato. Judging from his compositions,
Cramer's manner of playing must have been the perfec-
tion of evenness and elegance ; his phrasing must have
been eminently refined ; there must have been a pre-
vailing distinctness ; his fortissimo could never have been
disagreeable ; in short, it was doubtless the performance
of a perfect virtuoso, combined with all the experience of
a sound musician.

Another pupil of Clementi was John Field, an Irish-
man by birth. He was the inventor of the pieces called
" Nocturnes." As composer he cannot be compared with
Cramer, as he remained always a naturalist. The charm
which his writings possess emanates entirely and solely
from his natural talent and feeling. Whenever, as in his
Concertos, he attempts a higher flight, he is unsuccessful
in the extreme, and his music becomes uninteresting and
shallow ; it is even monotonous. Not so in his Noc-
turnes. Nothing has been written more simple, un-
affected, tender, naive, and intrinsically charming than
these little pieces. They are short poems ; they impress
us with the charms of a pure, simple girl. They are
unique. What stuff has been written under the name of
Nocturne ! what a quantity of nonsense has been covered
with that elastic title !

To Field we owe, by the invention of these Nocturnes,
the adaptation of smaller forms to a musical piece.
Hitherto only Rondos were the shortest pieces. From
these Nocturnes may be traced the Impromptus, Mor-
ceaux caracteristiques, Romanzas, &c, with which our
libraries are now filled.

With regard to Field's performance, I ought to mention
that he adopted another way of holding the fingers. We
have seen that Bach and Mozart held the fingers in a
bent, semicircular manner. Field held them perpendi-
cularly, and yet the tone he produced is said to have been
marvellously rich and singing ; the fulness and the great
amount of gradation he was able to give to it, is stated
to have delighted every one. Remarkable, too, was the
picturesque disposition of light and shade, the perfect
clearness of his playing, and the deep expression he gave
to all his melodies. It must be admitted that such
qualities united in one person constitute perfection, and it
may be taken for granted that he was one of the greatest
players that ever lived. Equally astonishing was his
quiet repose when seated at the instrument. This calm-
ness, which besides Field, Bach, Mozart, and Hummel
possessed, is a good quality not sufficiently retained in
later periods. But let us be just : the technical execution
of a Liszt or Thalberg could not admit of such absolute
immovability.

ON THE BEATS OF IMPERFECT CONCORDS.

BV W. S. B. WOOLHOUSE, F.R.A.S., ETC.
{Continud from page 19.)

The mathematical theory of sub-harmonics, and of the
beats of imperfect concords, is briefly comprehended in
what has already been given, and some of the practical
applications of the same will disclose properties and rela-
tions that may not be devoid of interest to musicians.

Perhaps the most simple relation is that which subsists
between the numbers of beats of two concords that con-
stitute a true octave. If ^ be the numerical fraction

THE MONTHLY MUSICAL RECORD.

[March I, 1871.

that denotes the concord of the lower interval when per-
fect, and ~\ the fraction which appertains to the upper
interval: then, since the two intervals make up a true
octave, the two fractions when multiplied together must
give I ; that is, ~ x "~ = h The fraction "'n\ is there-
fore

identical with ~ when 11 is odd,

,1 » li » » is even.

Let P, Q, 2P denote the respective numbers of vibra-
tions per second of the three notes ; then according to
the rule established in the former part of this paper, the
number of beats of the lower interval, in one second, is

B = m Q ^ n P (A).

Also, from what precedes, the corresponding number of
beats in respect of the upper interval is,

when n is odd, B\ = n X 2 P ■/■> 2 m X Q ;
„ n is even, B\ = \ u X 2 P ^ m X Q.

It thus appears that

when ;/ is odd, B1 = 2 B>
„ n is even, B\ = /3.
On examining the numerical fractions "' for the various
intervals, as stated at the commencement of this paper,
in the last number, it will be perceived that the denomi-
nator n is odd for all the major, and even for the minor
intervals, provided only that the fourth be considered as
a minor, and the fifth as a major interval.
Hence the following property: —

When a perfect octave is divided anyhow into two consonant
intervals by the insertion of an intermediate note that has been
slightly tempered, if the lower concord be a minor interval, the
upper and lower concords will beat at precisely the same rate ; but
if the lower interval be major, the upper concord will beat at double
the rate of the lower.

In the examples annexed, which are according to the
scale of equal temperament, or scale of equal semitones,
before stated, the beats of the upper concords are placed
above, and those of the lower concords are placed below.

Beats per Second.

^:g"

:&££

r,i

By the aid of the above simple property, octaves may
be tuned on a stop of organ pipes with perhaps greater ac-
curacy than by the unassisted ear. It is also evident that
a unison may be similarly tuned to great nicety by making
the two notes separately to beat at exactly the same rate
when sounded in combination with another given note.

Consider now, more generally, a triad of notes of which
the numbers of vibrations per second are respectively
denoted by P, Q, R. Let the triad be supposed to con-
sist of consonant intervals slightly augmented or dimi-
nished, according to any approximate system of tempera-
ment. The fractions |, |, ~ are those of the three tem-
pered intervals indicated by the respective pairs of notes.
Let ~, "~^, "^ be the simple fractions which denote the
corresponding intervals when perfect. Then, by the rule
before referred to, the numbers of beats per second of the
three intervals are

0 = m Q - n P,

B1=mlR — nx Q,

/32 = m2 R — n% P ;

assuming here that the number /3 is -f- when an interval

is tempered I, and — when it is tempered tr. Also, as the
third interval comprises the two former, * ^fe s= ~l. From
these algebraic equalities it is easy to deduce the relation

ft = ?£ + ££■& (B)-

For any stated triad this relation may readily be set

out numerically. As an example, take the triad of a

common chord.

When the chord (or lower third) is major, the fractions

'«> "ni "i~ are respectively \, \ , f ; and the relation amongst

the beats is

h - 1 P + 1 ft

^ 5 Ai = 3 jS + 2 By

When the chord (or lower third) is minor, the values of
"iii 7r> 'ir are respectively £, f, f ; and the preceding for-
mula gives

& = i J8 + § Bi
or, 2 0a = B + j3,.

Now, in the musical scale the temperaments of the
intervals of a major third, minor third, and fifth are
respectively ft, \>, U, and the corresponding values of /3 are
therefore affected by the signs +, — , — . Hence the rela-
tions amongst the beats may be thus expressed : —

In the case of a major triad, twice the beats of the minor third
exceed three times the beats of the major third by five times the
beats of the fifth.

In the case of a minor triad, the beats of the minor third exceed
those of the major third by twice the beats of the fifth.

Professor de Morgan announced these last-mentioned
properties in an interesting memoir " On the Beats of
Imperfect Consonances," given in Vol. X. of the Trans-
actions of the Cambridge Philosophical Society.

4ftat£tt Comsipotrtrem*.

MUSIC IN NORTH GERMANY.

(from our special CORRESPONDENT).

Leipzig, February, 1871.
The most conspicuous musical event during the last half
of December, 1870, was the Beethoven Festival. On this
occasion Leipzig has proved itself to be the true music
metropolis of Germany. All the leading men of our
musical world combined to arrange a festival, alike im-
posing through the selection of works worthy of the
greatest of German masters, and through the care
bestowed on their preparing them for performance. The
result of their labours was truly grand. During a whole
week we heard every evening the most important produc-
tions of Beethoven, from his different periods. The
Riedel Society opened the ball on the nth of December,
with a performance of the Missa Solennis, in the Thomas-
kirche. Considering the very difficult and exacting task
for the chorus, the performance may be called an excel-
lent one ; soli and orchestra alike worthily assisting it.
The greatest praise by far is merited by the two evenings
of the Gewandhaus, on the 13th and 15th of December.
The first brought chamber compositions, selected from
the three different periods of Beethoven — viz., the sonata
for piano and violin, in G major (Op. 30, No. 3) ; quartett
for string instruments, in C sharp minor (Op. 131) ;
sonata for pianoforte, E minor (Op. 90) ; and Septett
(Op. 20). The performance of all these works was a
thoroughly finished one. Herr Reinecke was at the
pianoforte ; the other instruments were in the hands of
David, Roentgen (violin), Herman (tenor), Hegar (vio-

March I, 1871.]

THE MONTHLY MUSICAL RECORD.

loncello), Storch (double bass), Landgraf (clarionet),
Gumpert (horn), and Weissenborn (bassoon).

The ninth concert of the Gewandhaus, on the 15th of
December, brought forward also only works by Beet-
hoven, of which we will only mention the triple-concerto
and the 9th Symphony, the rendering of both being in
every respect successful. The three solo parts in the
concerto were taken by Messrs. Reinecke, David, and
Hegar.

The managers of our theatre have contributed in a
highly creditable manner to the Beethoven Festival. On
the 1 2th of December, Goethe's Egmont, with Beet-
hoven's incidental music, was performed. On the evening
of the 14th the Ruins of Athens, and the ballet The
Men of Prometheus, were put on the stage for the first
time. The music of the last-named work offers but little
of interest and importance ; but in the finale of the ballet
the theme of the last movement of the " Sinfonia Eroica "
occurs, which was afterwards used by the master in the
elaborate variations. The performance of the opera
Fidelio on the 17th, the birthday of Beethoven, or,
according to another version, the day of his christening,
was preceded by the overture " Leonora, No. 1." After
this a prologue followed, then the overture in E, suc-
ceeded by the opera. The overture " Leonora, No. 3,"
formed a worthy conclusion of the whole.

In Berlin the festival was celebrated in the third Sym-
phony Soiree of the Royal Chapel, by the performance of
the two symphonies in A major and C minor. Taubert
conducted these works on this evening. Joachim played
Beethoven's violin concerto in unsurpassable perfection.
A Quartett-soirde of Messrs. Joachim, Schiever, De Alma,
and Muller brought the quartetts in G major (Op. 18), F
minor (Op. 95), and B fiat major (Op. 130) as contribu-
tions to the Beethoven Festival.

Bremen, Dresden, Lubeck, Schwerin, like all other
musical towns of Germany, vied with each other in giving
concerts worthy of the jubilee. From the different pro-
grammes, I will only mention as the most important
works the " Missa Solennis," the 9th Symphony, and
Fidelio.

In the face of the continuous lamentations of certain
critics who always complain of the unproductive Present,
and who, measuring the achievements of our contem-
poraries by the last and most important creations of
Beethoven, consider them discreditable, I can, just in
looking at the last-named three great works, not abstain
from the remark that even this greatest of heroes, in his
first works, shows himself as an imitator of former
masters. Only by degrees, in his later years, the full
originality and strength of his genius comes to light. The
same phenomenon we find in Cherubini, Gliick, Spohr,
Weber, Mendelssohn, and others. In judging of the first
works of young authors, I think it, therefore, to be
advisable to expect originality of ideas less than is
mostly done.

From this point of view, the few new productions
lately performed in the Gewandhaus deserve the acknow-
ledgment that they are well-considered, industrious
pieces, with all technical means well applied. This holds
good also of a new symphony by a young Norwegian,
Johann Svendsen, which was performed at the twelfth con-
cert of the Gewandhaus, and the third soiree of the Royal
Chapel in Dresden, and also a sonata for piano and
violoncello (Op. 38) by Brahms. The latter we heard
most excellently performed in a chamber-music soire"e by
Messrs. Reinecke and Hegar. A quart ett movement (c
minor) by F. Schubert, played on the same evening for
the first time, proved itself to be a Torso worthy in every
respect of the great master.

In the tenth concert of the Gewandhaus, we renewed
the acquaintance of the excellent violin-player, Isidor
Lotto. After an illness of several years, Herr Lotto
appears now again before the German public. If ten years
ago his technical execution was truly stupendous, it is now
joined to a certainty like that of a finished vocalist, faultless
purity of intonation, deeply-felt earnestness of interpreta-
tion, and an unexaggerated style. Herr Lotto played a
pleasing concerto of his own, and a sonata (" Le Trille du
Diable '") by Tartini, and earned a most enthusiastic ap-
plause after his performances. Christmas songs, with
chorus, by Praetorius and Leonhard Schroder, as also
two very pretty quartetts for mixed chorus by Reinecke,
formed the vocal part of the concert. Robert Schu-
mann's symphony in C major closed most fittingly the
first half of the Gewandhaus Concerts.

The New Year's Concert brought us a guest whom we
had learned to esteem last year in the Gewandhaus. It
was the young pianist, Fraulein Emma Brandes, who
played Schumann's piano concerto and Weber's Con-
certstiick with the most highly-finished mechanism and
natural grace. That most excellent artist of our opera
stage, the distinguished baritone singer, Herr Gura, sang
an air from Heiling by Marschner, and songs by Schu-
mann. Weber's overtureto Euryanthe, and Beethoven's
C minor symphony, were played very effectively by the
orchestra.

Of the greater works produced during January in the
Gewandhaus, I have to mention Mendelssohn's music to
Midsummer Night's Dream, and the " Sinfonia Eroica,"
as the most successful. After a long absence from Leip-
zig, the famous violoncello player, Herr Bernhard Coss-
mann, delighted us by his worthy performance of Schu-
mann's concerto for violoncello, in the fourteenth concert
of the Gewandhaus. His assistance, also, gave to the
second chamber-music soirde in the Gewandhaus, on the
28th January, especial brilliancy.

The Leipzig Opera has latterly been in great activity.
After the Meistersinger, we have had several important
works of old masters, which have not been performed
for a long time. Idomeneus, on Mozart's birthday, the
27th of January ; Spohr's Jessonda, and Mozart's
Seraglio. The operas named met with a warm reception
by the public. At present our opera possesses in Frau
Peschka-Leutner and Herr Gura two first-class artists ;
also the ladies, Mahlknecht and Borree, as well as Herrn
Krolopp and Schmidt, must be mentioned as con-
scientious and richly-gifted artists.

The opera in Berlin brought, besides repetitions of well-
known operas, a classical work but seldom heard now-a-
days, this was shortly before the end of the old year —
Gliick's Iphigenie in Aulis an excellent performance, in
which Messrs. Betz (Agamemnon), Niemann (Achill), and
the ladies Mallinger (Iphigenie) and Brandt (Klytem-
naestra) took the most distinguished part. Among the
large number of concerts in Berlin, I have to point out
the interesting organ concert of Mr. George Carter, of
London. Mr. Carter played a sonata by Ritter, the
allegretto from Mendelssohn's " Hymn of Praise," varia-
tions by Thiele, and the A minor fugue by J. S. Bach,
and showed himself one of the first of the now living
organists. The hundredth concert of the Orchestra
Society in Breslau was distinguished through the assistance
of Madame Clara Schumann, who played her husband's
A minor concerto and solo pieces (c sharp minor Im-
promptu by Chopin ; " Le Lac," by Bennett ; and Presto,
Op. 16, by Mendelssohn) in her well-known unsurpass-
ably beautiful style. In this concert Wagner's " Ritt der
Walkiire" was heard for the first time, without being
appreciated by the public. In the following concert, on

THE MONTHLY MUSICAL RECORD.

[March I, 1871.

the 23rd of January, Herr Lotto played the violin concerto
mentioned above, the "Witches" variations, and the
" Carnival of Venice," by Paganini. All the Breslau
papers bring most abundant reports of the young artist's
excellent performance, and of the enthusiastic reception
he met with from the public. Of the Philharmonic con-
certs in Hamburg, the one on the 16th of December, the
eve before the Beethoven Jubilee, is to be mentioned as
the most successful in every respect. The orchestral
works, " Leonora Overture," No. 3, and "Sinfonia Eroica,"
went well. The great feature of the evening was the
performance, by Madame Clara Schumann, of the concerto
in E flat major, and the C minor variations. Friiulein
Brandt, from the Royal Opera in Berlin, sang the aria
"Ah Perfido" and three Scotch songs with accompaniment
of the pianoforte, violin, and violoncello. This excellent
artist created a sensation by her beautiful voice, and by
her truly expressive performance.

A few very pleasing new compositions are in the press,
which in my next report I shall, very likely, have to
mention as having been published. Finally, I have to
draw attention to several works called forth by the
Beethoven Festival, amongst which there are some of
importance — e.g., " Ludwig van Beethoven, ein musikal-
isches Characterbild, von G. Meusch." This excellent
book is published by F. E. C. Leuckart, in Leipzig.

MUSIC IN VIENNA.

(FROM OUR SPECIAL CORRESPONDENT.)

Vienna, i^thFeb., 1871.
If not reminded by the many advertisements in large
type and illuminated in gay colours, we should certainly
be reminded by the very small number of concerts, that
we live in the Carnival. In all there were two great
concerts, two Quartett-soirdes, and three private concerts
since my last report. The. programme of the sixth Phil-
harmonic concert consisted of the overture to the opera
Der Wassertrdger, by Cherubini ; a concerto for piano by
Brahms ; entr'acte and aria of Florestan from Leonore, by
Beethoven ; and the music of Mendelssohn's Midsummer
Night's Dream. The aria of Florestan is taken from the
first version of Fidelio, by Beethoven, entitled Leonore.
The difference of both consists principally in the omitting
of the allegro, in which Florestan suddenly is influenced
by the hope of seeing his wife again. The aria, as it is,
makes a great impression, and was well sung by Herr
Walther, from the Opera. Next to this, the most interest
was aroused by the concerto, which, though composed
about ten years ago and published by Rieter-Biedermann,
was never before performed in Vienna. The composer
himself played the piano part. This work shows a
development of grandeur which cannot fail to make a
great impression. The broad and vigorous style of the
first part is followed by an andante of the most noble
poesy. The finale, in form of a rondo, is abounding in
striking effects and in the art of counterpoint. The
scoring is of high interest, and orchestra and piano
alternate in a most artistic manner. The piano part is
very difficult, and requires a first-rate master. The execu-
tion of this highly interesting composition was on both
sides, orchestra and piano, exceedingly good, and created
quite a sensation. Herr Brahms was recalled again and
again, and so the issue was a favourable prognostic for
Brahms' Requiem, which will be performed next month.
The third Gesellschafts-concert was of a serious cha-
racter, though we live in the days of valses and polkas.
Opening with the overture to King Stephen,hy Beethoven,
the following compositions were by Bach and Handel.

Three professors of the Conservatoire performed the
concerto for three pianos in D minor, by Bach, a compo-
sition in which vigour and majesty are combined imthe
most masterly way with all kinds of counterpoint. Mdme.
Dustmann, from the Opera, sang an aria from the opera
Rodelinda, by Handel, and then we had again Bach. It
was for the first time in Vienna that the Magnificat in
D major (in the arrangement by Robert Franz) was per-
formed. It consists of twelve numbers — five airs, a
duetto, a terzetto, and five choruses, which show in every
bar the great Cantor of the Thomasschule, and remind us
very often of the most sublime parts in the Matth'aus-
Passion. The choruses particularly are of vigorous in-
vention, but short as the single numbers are, their execu-
tion is not easy, and requires a well-trained chorus. In
the second Quartett-soiree of HeHmesberger, Haydn's
quatuor in E major, Beethoven's trio, Op. 70, in D major,
and his quatuor, Op. 135, were performed. The quatuor
of Haydn is one of his finest, the adagio quite of a
sublime character, menuetto and finale in Haydn's best
florid style. The execution of Beethoven's quatuor is
known as one of the best performances of these soirees.
On the third evening we heard the sestetto in B flat
major, Op. 18, by Brahms; a new trio in A minor, by
Rubinstein ; and the quintuor in G minor by Mozart. The
sestetto was received with immense applause, so much
that the composer was forced to appear again and again
with the executants, to be heartily welcomed. In Rubin-
stein's trio a wild character is predominant. The first
part is feeble in invention ; the scherzo is bright in colour ;
the andante is remarkable for its suave and melodious
style ; the finale abounds in difficult and bustling passages.
The piano part, being very difficult, was well performed
by Herr Door, professor of the Conservatoire. Herr
Epstein, professor of the same institute, gave a concert
with a fine programme : concerto by Handel; andante,
with string-quartett accompaniments, by Field ; the sonata
in A minor by Schubert ; and, lastly, variations for two
pianos by Rudorff— -the first piano by Frau Amalie Epstein,
a very distinguished pianist. The reception of the whole
concert, including the songs by Mdlle. Anna Regan, was
very flattering, Herr Epstein being a pianist of great
reputation. Mdlle. Anna Regan gave two concerts in the
smaller concert-room of the Musikverein, and so, as the
volume of her voice is likewise a small one, the effect was
more to her advantage. The programme was adorned by
the names of Scarlatti, Lotti, Bach, Glttck, Beethoven,
Mozart, Schubert, "Mendelssohn, and Schumann. She was
well received, being a tasteful singer. There are also to
mention four lectures by Dr. L. Nohl, from Munich, on
Haydn, Mozart. Beethoven, and Wagner. These lectures
were in the well-known style of Nohl, making at least no
impression on those who had once attended those dis-
courses, as they offered nothing new. The assemblage
was, therefore, a very small one.

Regarding the Opera, we had the first representation ot
three operas in the new Opera House — the Fliegende
Hollander, Lucia, and Rigoletto. Wagner's opera was
magnificently performed. First of all, the sea was
astonishing. So very naturally the movement of the waves
was imitated, that the sight alone was sufficient to cause
sea-sickness ; and still more wondrous was the agility
with which the two vessels cut through the waves. But,
to do justice, the singers, the chorus, and orchestra did
their best. In particular, the roles of the Dutchman and
Senta, by Herr Beck and Frau Dustmann, were really
artistic ; Erik and Daland likewise being well performed
by Dr. Gunz and Mayerhofer. In Lucia, Mdlle. Mathilde
Sessi sang for the first time in Vienna. She had a good
reception, her voice not being of great volume, but well

March i, 1871.]

THE MONTHLY MUSICAL RECORD.

fitted for trills and passages — a lovely fioritura singer.
Well as she was received in Lucia, she was less fortu-
nate as Margarethe in Faust, as she wanted truth and
depth of expression. Her representation of Gilda in
Rigoletlo was, again, of a better kind; the whole opera,
with Walther, Beck, and Mayerhofer, making an exquisite
ensemble. Fra Diavolo, well as it was performed, proved
to the public again that the great Opera House is not the
place for the opeYa comique, the room being too large.
All the finer effects are there lost. Dr. Gunz in the title
role was sufficient ; Mdlle. Hauck, a striking Zerlina ; Herr
Mayerhofer, as Lord Cockburn, the real portrait of an
English gentleman en voyage (at least, as the people
generally has its own idea of a lord). For the next time
we are promised the tenors Sontheim and Niemann as
guests, and Herr Beetz, from Berlin, one of the best
baritones in Germany. He is expected principally to
sing the part of Hans Sachs in the Meistersinger. In
March will be performed Rienzi, by Wagner, the first
representation in Vienna. The old Opera House, which
was already destined to be demolished, is on its way to
become again the seat of the muses, this time the Burg-
theater (for the drama) wandering to the deserted old
place of the opera.

The large Theatre an der Wien, suburb Wieden, was
crowded on the 10th of February by an immense number
of visitors, to hear the first operetta of Johann Strauss.
the famous composer of dance music. It was like a
family festival in which every part of the population took
an interest. The new operetta is entitled Indigo and the
Forty Thieves. It is very probable that the subject is
the same as the operetta Ali Baba, by Bottesini, now
being represented at the Lyceum Theatre. The Thousand
and One Nights were plundered for it, and amalgamated
with scenes of a very local character, the whole libretto
being very tedious and much too long. The music is that
of a man who, for twenty and more years, has composed
nothing but waltzes, polkas, and quadrilles ; the whole,
however, presented in a very insinuating manner. The
operetta was performed exquisitely well, the decorations,
mise-en-scene, and ballets presenting a combination of
splendour. The applause was, on that evening, con-
tinuous ; the composer, the directrice, Mdlle. Geistinger,
the famous actress, and all the representatives of first
roles, called for again and again. The music-publisher,
C. A. Spina, has bought the copyright of the music, and
so it will not fail that " Indigo " and his thieves will make
their way through the world as quickly as their fame.

A QUERY.
To the Editor of the Monthly Musical Record.
Sir, — I shall be obliged if any of your readers can tell me of
good music written to the Hcec Dies and Victima Paschali. I
know the settings of Nixon and Novello. — Yours faithfully,

H. A. W.
{Our columns are open for replies containing- the desired in-
formation.— Ed. M. M. R.]

Die Loreley. Grosse Romantische Oper. Dichtung von Emanuel
Geibel ; Musik von Max Bruch. Op. 16 (Loreley. Grand
Romantic Opera. Poetry by Emanuel Geibel ; Music by
Max Bruch. Op. 16). Full Score and Vocal Score. Breslau :
F. E. C. Leuckart.

It is well known that Mendelssohn, at the time of his death, was
engaged on the opera of Loreley. Three fragments of the unfinished
work have been published, and performed. These are the "Ave
Maria" and "Vintagers' Chorus" from the first act, and the grand
finale to the same act— this last, one of the noblest and most

finished efforts of his genius. Those who have read his letters will
also know how extremely fastidious he was about a libretto, and
that it was not till after years of waiting that he found one to
satisfy him. That which he ultimately selected is the same which
Herr Bruch has set in the work now before us ; and a better one
has probably seldom been written. Whether from a poetic or
dramatic point of view it is equally admirable ; and, when it is con-
sidered what trash opera libretti mostly are, the composer may be
esteemed fortunate to have suah materials to work upon. But we
cannot help thinking him a bold man, to have taken the book on
which so great a composer had previously been engaged ; for, in
such a case, comparisons, however odious, are inevitable ; and, if
the truth must be spoken, Herr Bruch is no Mendelssohn. He is a
most careful and painstaking writer ; he has thorough mastery of
artistic resources ; his treatment, both of voices and instruments,
is excellent; but the one thing needful — genius — is just the one thing
lacking. Consequently, his music is continually on the point of
being very fine, and yet never rising above a certain level. The
great want of the whole opera is individuality of character. There
is, perhaps, not one piece in it that contains a reminiscence of any-
thing else ; many of the separate movements are very good, but
there is not, from first to last, one passage in the entire work which
(to use Gliick's phrase) "draws blood." There is nothing that
reaches the heart, and therefore the impression left by the whole
is one of heaviness. Such, at least, has been the effect on us of
reading through the entire score of nearly 400 pages. Few things
are more tiring (we had almost said " more exasperating ") than to
read through page after page of music which is never bad — with
which there are no faults to find, but which pursues the even tenor
of its way with ceaseless pertinacity. It is like listening to a per-
fectly orthodox sermon of about two hours' length, delivered in a
somewhat monotonous voice, and without one gleam of eloquence
to enliven it.

But now to specify some of the single pieces of the work. After
a somewhat dry orchestral introduction, there comes a tenor air
in A, the first movement of which, " Gewahrt' ich eine Jungfrau
wunderhold," has a very pleasing cantabile melody, admirably
supported by the orchestra. The allegro agitato which follows is
also effective and dramatic, and the whole scena is one of the best
numbers of the opera. Lenore's simple melody, " Seit ich von mir
geschieden," which follows, is pretty, and leads to a very excellent
duet for soprano and tenor, in two movements, the first full of
tenderness and the second fiery and passionate. The "Ave Maria "
which follows is not particularly striking, but Herr Bruch in this
piece, as well as in the Vintagers' Chorus and the great finale, de-
serves credit for having avoided the least resemblance to Mendels-
sohn's setting of the same text. The scene which follows is full of
spirit and vigour, and the Vintagers' Chorus (just referred to) is
capitally written. The remainder of the act is of no special inte-
rest, but on the whole we consider this act by far the best of the four.
Had the other three been at all equal to it, our judgment of the
entire work would have been more favourable than it is.

The second act is entirely taken up by the great scene between
Lenore and the Rhine Spirits — the same that Mendelssohn has set
so wonderfully ; and a comparison of the two settings brings out,
in the clearest possible way, the difference between talent and
genius. Every page of Mendelssohn's score glows with the " divine
fire." Look, for instance, at the outburst of the chorus in A minor
in the introduction, with the superb break into the major at the
words " Doch bei Nacht, ohne Mond, ohne Stern," or at Lenore's
passionate solo that follows, " Wehe, betrogen," or the outburst of
reckless despair and resolution in her final air, " Wie ich den
Schleier hier zerreisse." Herr Bruch 's music, though not without
dramatic feeling, is pitifully dull in comparison ; and one can hardly
help fancying that the very effort to steer clear of Mendelssohn, has
cramped and fettered him in the composition of this — one of the
driest portions of the whole opera. The third act, in which Lenore
appears at the wedding feast of her faithless lover, and, by the super-
natural aid of the Rhine Spirits, fascinates him away from his bride,
offers a great opportunity to a composer of sufficient strength to
grapple with the subject. We cannot say that, on the whole, the
music is worthy of the situation, being mostly somewhat common-
place, and in some parts rather dry. But this act contains what, to
our mind, is the gem of the whole opera — a charming cavatina for
Bertha, ' ' Komm, o Tod, des Tages Schwlile. " For this move-
ment we have nothing but praise. Melody, expression, and treat-
ment are equally admirable, and the song might with advantage be
introduced by some of our singers as a concert piece. Very good,
too, is the solo for Lenore, " Fiihrt mich zum Tode," which occurs
in the finale ; the setting of the closing words, " Und Einer, Einer
vreiss warum," is particularly happy. Unfortunately the other parts
of the scene are of much inferior merit, and the interest awakened
by these pieces is not sustained. In the fourth and last act the
best piece is the opening chorus, "Wir bringen des Herbstes

THE MONTHLY MUSICAL RECORD.

[March I, 1871.

kb'stliche Gabe," which is very melodious, and well developed at con-
siderable length. The pieces that follow it are mostly very dry. At
the commencement of the last finale, the popular German song of
"Loreley" (" Ich weiss nicht was soil es bedeuten") is introduced
as a horn solo in the orchestral prelude with admirable effect, but
the finale itself is tedious to the last degree ; the treatment is good,
but the subjects, with scarcely an exception, uninteresting.

From what we have already said our general opinion of the opera
may be gathered ; but, to sum it up in a few words, we may say that
we consider it a carefully and thoughtfully written work, but one,
unfortunately, in which we fail to find a trace of true genius from
the first page to the last. In conclusion, we have only to add that
the pianoforte arrangement of the vocal score, by the composer
himself, is most effectively done, the instrumental points— ac-
cording to the excellent practice which it is to be wished
were more uniformly adopted — being indicated in the accom-
paniment.

Johann Sebastian Back's Wcrkc. Herausgegeben von der Bach-
Gesellschaft. "i8ter Jahrgang (J. S. Bach's Works. Pub-
lished by the Bach-Society. 18th Year). Leipzig : Breitkopf
und Hartel.
It is, we think, a matter for regret that the Bach Society will noti
under any circumstances, sell single volumes of this most splendid
edition of the works of the immortal composer; so that it is impos-
sible at present to obtain any of the numerous pieces published only in
this collection without an outlay of ^18. The society, as many of
our readers will know, was founded in 1850 — the centenary of Bach's
death — and since that time one volume of his works has been
issued to subscribers yearly, or nearly so. Whether, considering
the enormous number of his compositions, the edition is likely to be
completed in the life-time of any of the present subscribers, is at
least doubtful ; but the musical world is under great obligations to
the editors for the many masterpieces already brought to light.
The volume now before us contains ten of the Church-Cantatas,
and it is impossible to read them without being amazed, no less at
the wonderful freshness of the melodies and fertility of musical in-
vention, than at the extraordinary mastery of contrapuntal form
that they reveal. Many of Bach's innovations are so bold that they
must have made the hair of some of the old Leipzig musicians
absolutely stand on end. Thus, in one chorus in the present
volume (" Alles nur nach Gottes Willen ") the voices close on a
chord of the seventh, instead of a common chord, the resolution of
the discord being effected by the orchestra. For fresh and flowing
melody nothing can be finer than the chorus, "Die Himmel
erzahlen die Ehre Gottes," while, as examples of scientific writing,
the opening choruses of the cantatas, " Ein feste Burg " and " Du
sollst Gott deinen Herrn lieben," cannot be surpassed. The latter
gives a remarkable instance of the rare skill with which the com-
poser sought to throw every possible light on the subject he was
treating. While the voices are singing the words " Thou shalt love
the Lord thy God with all thy heart," &c., Bach, to remind his
hearers of Christ's words, " On these two commandments hang all
the law and the prophets," makes a solo trumpet, on its brilliant
upper notes, mounting high above everything else, give out the old
choral, ' ' Dies sind die heil'gen zehn Gebot " (These are the holy
ten commandments), the basses and organ imitating the trumpet
in a strict " canon in augmentation." Want of space forbids us to
speak in more detail of this volume ; we will merely add that as a
splendid specimen of music-engraving it has never been surpassed,
even by Messrs. Breitkopf and Hartel.

Quartett-Satz ( C moll) fur Zivei Viol bun, Viola, vnd Violoncell,
von Franz Schubert. Nachgelassenes Werk. (Quartett
Movement in c minor for two Violins, Viola, and Violoncello,
by Franz Schubert. Posthumous Work). Score and Parts.
Leipzig : Bartholf Senff.

Many years will probably elapse before the whole of Schubert's
compositions become known to the public. At least half of them
still remain in manuscript, and those that are issued from time to
time only whet the appetite of musicians for the rest. Herr Senff
has done good service in engraving this exquisite piece. It is, un-
fortunately, only a fragment — the opening movement of an
unfinished quartett, which, for some reason that we shall never
know, the composer appears to have laid aside. It was composed
in December, 1820, and, though unusually concise in form, and less
developed than most of its author's instrumental works, is full of his
own individuality. It is an allegro assai in 6-8 time, and com-
mences with a theme of two bars, pp., for the first violin, which is
taken up by the other instruments in succession, leading up by a
very effective crescendo to a fortissimo. The second subject, in A
flat, which follows, is in Schubert's happiest rein. Still more lovely,

if possible, is a melody in G major, which occurs near the close oi
the first part, and which Is introduced in C toward the close
of the movement. The whole piece reminds one a little, in its
general effect, of the first allegro of the charming little sonata in
A minor, Op. 164. We heartily recommend it to the notice of
quartett-players. Some of our violinists might introduce it with
advantage at their concerts. It has already been played in
Germany with great success, and would be sure to meet with equal
appreciation in this country.

Beethoven' s Piano Sonatas. Edited by E. Pauer. 3 Vols.
Mozart ' s Sonatas. Edited by E. Pauer. i Vol.
Library Editions. London : Augener & Co.

There is, of course, no occasion to say one word about the sonatas
of Beethoven and Mozart ; nor, had this been merely an ordinary
edition, would it have been needful to notice it in these columns.
But those who may desire, either for their own libraries or for pre-
sentation, a really magnificent copy of these masterpieces, will thank
us for directing their attention to these " Library Editions." They
have been literally (to use a common phrase) " got up regardless of
expense." Printed from plates engraved abroad in the best German
style, and on the finest quality of paper, and being, moreover,
handsomely bound, they surpass in beauty any edition we have yet
seen, not excepting even the beautiful one of Beethoven's sonatas
issued by Breitkopf and Hartel, in the complete collection of that
composer's works published by them some six years since. The
carefully-marked fingering added throughout, by so experienced a
pianist as Herr Pauer, is also a valuable feature of this edition,
which deserves a larger sale than, in these days of cheap music, we
fear, it is likely to obtain.

Overtures, transcribed for the Piano, for Two and Four Hands. By
E. Pauer. London : Augener and Co.

The popularity of overtures as piano pieces, whether solos or duets,
is easy to be understood. They are generally very intelligible, and
for the most part contain plenty of melody — of a kind, too, which
catches the ear and arrests the attention of many who would vote a
sonata an unmitigated nuisance. Besides this, those who have
heard the works in their original form on the orchestra, are glad to
recall, however imperfectly, the impressions produced by the per-
formance ; and a conscientious transcription will give the leading
features of the music with quite sufficient accuracy to effect this,
though, of course, the colouring will be absent. A good arrange-
ment of an orchestral work for the piano bears the same relation to
the original that an engraving does to a painting — everything is
there except the colour. The present series of arrangements by
Herr Pauer (of which about twenty numbers are now issued, and
which are still in the course of publication) is one of the best that
has come under our notice. Of course, from the nature of things,
the duet arrangements are, and must be, the more complete ; but
those for two hands are no less admirable in their way than those
for four. The arranger has very wisely abstained from attempting
to crowd into his pages the entire score ; and he has shown equal
judgment in what is omitted and in what is inserted. The solo
pieces are necessarily somewhat more difficult than the duets ; but
there are none that are beyond the reach of fairly good players,
while the completeness and richness of effect obtained, in some
cases merely by two hands, is something surprising. To name one
instance, we should hardly have fancied that Mendelssohn's over-
ture to the Hebrides would have " come out " as a solo so effectively
as it does in this arrangement. The well-known Guillaume Tell is
another masterly transcription. In the Ranz des Vaches preceding
the last movement, Herr Pauer has brought in the flute accom-
paniment as well as the melody given to the corno inglese in a very
skilful manner. It is not easy to play neatly, but there are no un-
necessary or insuperable difficulties. Schubert's lovely overture to
Rosamunde is another capital arrangement, both in the solo and
duet forms. The series also includes some of the best overtures of
Mozart, Weber, Auber, and other masters, and will, when com-
plete, be a most valuable collection. We would venture to suggest
to the editor, that the interest would be much enhanced if he would
indicate the chief features of the instrumentation. As the pages are
not over-crowded, this could be done without inconvenience.

An Introduction to the Study of Music. By Henry S. Wright,
RA.M. London: Novello, Ewer, & Co.

The object of this useful little manual is defined by the author, in
his preface, to be " to give the simplest rudimentary instruction to
the young pupil, and at the same time to impart to those of more
advanced age and greater proficiency, such a knowledge of the
theory of harmony, as will be a fit preparation for studying the more

March I, 1871.]

THE MONTHLY MUSICAL RECORD.

advanced stages of the science." Many teachers have doubtless
felt the want of a small book in which they could find the elements
of music in a concise and convenient form for reference, or for the
use of their pupils. The present work supplies just what is wanted.
The various chapters contain instruction on the scale, the staff, the
names of the notes, time, signatures, auxiliary notes and signs,
modulation, accent, and intervals, as well as a good deal of general
information. The arrangement of the book is good, and the details
in general accurate.

SHEET MUSIC.

We have received a number of short pieces for review, of which
our space will not allow us to give a detailed notice. We must
content ourselves with a few words upon each.

Ein Morgen ttnd ein Abend- Stiindchen, von Franz M.
d'Alquen (London : Schott & Co.), are two rather simple pieces
for the piano. While not equal in merit to the best of the same
composer's "Wild Flowers" (reviewed in our January number), they
are both pretty, especially the latter, and may be recommended for
teaching.

Scherzo in c minor, by Franz M. d'Alquen (London :
Ashdown & Parry), though, perhaps, hardly 'so popular in style
as the two pieces last noticed, is superior to them in artistic value.
The subjects are good — the trio in the major being happily con-
trasted with the scherzo — and the passages lie well under the hand,
and are grateful to the player.

Gossamer Wings, Legend for Piano, by John Old (same pub-
lishers), is a melodious drawing-room piece on a somewhat con-
ventional model, which will be found useful as a teaching piece,
and we suppose the composer intends it for nothing more. It is
not difficult. *

A Dream of Spring, Solo for Pianoforte, by J. L. Ellerton,
Esq. (London : C. Lonsdale), consists of an introduction (Andante
religioso) followed by a "Dance of Peasants" and "Dance of
Fairies " in waltz time. The passages are very good for practice,
but the leading themes are deficient in interest and novelty.

'Las! si f avois pouvoir d'oublicr, Romance, par J. L. Ellerton
(same publisher), is far better than the piece just named. It is a
song with a somewhat quaint and very pleasing melody, and is, we
think, likely to be a favourite.

O Domine Jesu, Song for Soprano, with Violoncello Obligato,
by C. Villiers Stanford (London : Augener & Co.), contains
so much that is good, that we are sorry to be unable to speak of
it with unqualified approval. Mr. Stanford has ideas, and evi-
dently possesses a true feeling for music ; but the song needs
revision, especially in the violoncello accompaniment, in which
there are some passages which a more extensive knowledge of
harmony would have prevented the author from introducing. Still,
in spite of all faults, there is much to praise both in the ideas and
treatment of this song.

The Lost Star, by W. J. Agate (London : Weippert & Co.),
is a simple and pleasing ballad, which, being moreover very easy
both to sing and play, will be likely to be popular with amateurs.

Heroic March. Composed by F. Schubert. Arranged for the
organ by J. G. Wrigley. (Manchester: Forsyth Brothers.) An
easy and effective arrangement of the first of the " Three Marches,"
Op. 27. It is suitable for organs of only moderate size, and will
therefore be available for the majority of players.

The Bride of Lome Waltzes, by J. P. Willey (Liverpool : Hime
and Son), is a pretty and easy set of waltzes, constructed on the
usual model, and embellished with a very handsome title, con-
taining portraits of the Marquis of Lome and the Princess Louise.

MUSIC RECEIVED FOR REVIEW.

Alderson, T. Albion. "Hilda." Serenade for Piano. (London:
Ashdown & Parry.)

Alderson, T. Albion. "The Streamlet." Sketch for Piano.
(London : Ashdown & Parry.)

Allison, Horton C. " Tarantella for Piano." (London: Duncan
Davison & Co.)

Holloway, Dr. A. S. "Ave Maria." Solo Motett. (London:
T. Richardson & Son.)

Holloway, Dr. A. S. "Classical Gems for the Pianoforte," Nos.
2 and 3. (London : J. Bath.)

Kerbusch, L. "In the Beginning was the Word." Sacred
Cantata. (London : Augener & Co.)

Leigh, Arthur G. Hymn Tunes, Chants, and Kyrie Eleison.
(London: Novello, Ewer, & Co.)

Richards, Westley. Variations for Pianoforte on ' ' Drink to
me only." Op. 2. (London : Lamborn Cock & Co.)

€tmttvte, $cu

CRYSTAL PALACE SATURDAY CONCERTS.

On Saturday, Jan. 28th, the programme was as follows : —

Overture, "The Naiads" Sterndale Bennett.

^?'Waae^rlngele"Pe.r.Sti11.'.'} <**<*•> Handel.

Pianoforte Concerto in b flat (No. n.) Mozart.

Aria, " Come per me sereno " (Sonnambula) ... Bellini

Symphony, No. 4, in a (The Italian) Mendelssohn.

Song, " Weary flowers " Schubert.

Pianoforte Solo, " Novellette in F " Schumann.

Valse, " Quando schiudi" Arditi.

Airs de Ballet (Faust) Gounod.

Dr. Bennett's most melodious and elegant overture is but too
seldom heard in our concert-rooms. While too reminiscent of the
style of Mendelssohn to rank as a work of high originality, it is,
nevertheless, so full of charming ideas, and constructed with such
perfect mastery of detail and finished workmanship, that it is always
listened to with pleasure. The performance of Mendelssohn's
symphony was one of the most perfect to which we ever had the plea-
sure of listening. Especially remarkable was the final saltarello,
which was taken at a tremendous pace, for the wonderful clearness
and distinctness of accent with which the rapid triplet passages
were brought out. The pianist was Mr. Charles Halle, who played
Mozart's concerto with his invariable exquisite finish and taste.
We doubt, however, the wisdom of the selection of the piece, which,
in spite of the beauty of the andante, is, we think, by no means one
of its author's greater works— the first and last movements being
somewhat old-fashioned, and even (for Mozart) rather dry. Mr.
Sims Reeves sang the recitative and air from Jephtha, and the
lovely serenade by Schubert, in his own unapproachable style.
"Waft her, angels," suffered somewhat in effect from its transposi-
tion into G flat. The other vocalist was Mdlle. Leon Duval, who
in the air from La Sonnambula, and the valse by Arditi, showed
considerable facility of execution, though she is too prone to indulge
in the constant tremolo which is so common a failing with many
vocalists.

On Saturday, Feb. 4th, the symphony was Haydn's in B flat (No.
9 of the twelve grand) — one of its author's most genial works. We
confess to having no sympathy with those who seem to think it a
proof of depth to sneer at " Papa Haydn" as shallow, and to decry
him as old-fashioned. Many modern writers might go to his works
with advantage, to learn how to be always fresh and always pleas-
ing. The sportive gaiety of the opening allegro, the minuet and
trio (the theme of this latter, by the way, must have been in
Boieldieu's head when he wrote the opening bars of the overture to
the Caliph of Bagdad), and more especially of the finale, seemed
fully appreciated by the Crystal Palace audience, 'and, to use a
common phrase, " set every one's head nodding." The band also
played the overture to Figaro, and Mendelssohn's ' ' Trumpet Over-
ture," the former being so splendidly given as to be tumultuously
encored. But the great feature of the afternoon was the performance
by Mr. Oscar Beringer of Schumann's glorious pianoforte concerto
— a performance that we must describe as masterly, whether as
regards mechanical accuracy or intellectual interpretation. Those
who know the work are aware that the finale is one of the most
difficult pieces ever written for the instrument ; but the enormous
difficulties were surmounted as if they had been merely child's play,
while the " reading " of the whole concerto left nothing to be desired.
We doubt if any pianist could have given a more satisfactory per-
formance, excepting the composer's widow ; and we are sure Mr.
Beringer would be the last to quarrel with us for excepting her. The
vocalists were Madame Lemmens-Sherrington, who sang Handel's
"Angels ever bright and fair," and the " Shadow Song " from
Dinorah ; and Mr. Santley, who gave an air from Zampa, and a
new song by Arditi, and also joined the lady in the duet "Papagena,"
from the Zauberflote.

At the following concert (Feb. nth), the symphony was Spohr's
"Wcihe der Tone'' (commonly but incorrectly known as the
"Power of Sound," instead of the "Consecration of Sound," the
proper translation of the German name). This is the best-known
and one of the finest of its author's orchestral works. Spohr has
written nothing more charming than the first allegro of this symphony,
in which the voices of animated nature are so exquisitely depicted.
The performance on this occasion was worthy of the music. The
lovely andantino, with its three subjects (Cradle song, dance, and
serenade), first introduced separately, and then worked together
with such masterly, and yet unobtruded art, suffered in effect from
being taken, to our thinking, decidedly too slow ; but the following
march, as well as the finale, left nothing to be desired. A novelty at

THE MONTHLY MUSICAL RECORD.

[March I, 1871.

this concert was the performance of a manuscript " Larghetto and
Scherzo," from a symphony in A, by Mr. Henry Gadsby. It is but
seldom that any work by an Englishman, unless he has already
made a name, has a chance of public performance ; and, therefore,
we thank Mr. Manns for the opportunity of hearing the production
of a native composer ; and we hope he will, from time to time, take
further steps in the same direction. Of the work in question, we
regret that we can only speak in terms of moderate praise. Mr.
Gadsby writes well for the orchestra, and has constructed his work
in strictly classical form ; but the larghetto is not particularly inter-
esting in its subjects, while the chief theme of the scherzo seemed
deficient in the requisite dignity for a symphonic movement. The
overtures were Beethoven's "King Stephen," and Weber's
" Euryanthe," both old acquaintances, but none the less welcome
on that account. Madame Cora de Wilhorst made her first (and
very successful) appearance, as a vocalist, in this country. She
possesses a fine voice, her execution is good, and her style excellent;
and she is likely, we believe, to become a favourite. The other
singer was Mr. Sims Reeves, who was unfortunately suffering from
indisposition ; and therefore, though of course he sang with his
usual artistic finish, was not heard to the best advantage.

On Feb. 18th, the programme included Mozart's ever-charming
symphony in E flat, which we never heard better played than on
this occasion, Mr. G. A. Macfarren's bright and pleasing overture
to Don Quixote, and (as complete a contrast as could well be found)
Schumann's overture to Manfred, one of its composer's most sombre
and gloomy, and yet one of his most poetical works. That it will
ever become popular we doubt ; but it is impossible not to be im-
pressed with its wild power. Like Beethoven's overture to Coriolan
(with which, however, it has little else in common), it closes with a
most impressive pianissimo. Madame Schumann gave a magnifi-
cent rendering of Mendelssohn's concerto in D minor, and played
also some short solos, one of them being her late husband's popular
"Schlummerlied," which must, we think, have been in Mendels-
sohn's head when he wrote " If with all your hearts." The singers
were Madame Vanzini and Signor Caravoglia, both of whom were
very successful in the pieces allotted to them. The gentleman
especially distinguished himself in Rossini's well-known "Largo al
factotum.''

As the concert on the 25th took place after our going to press, we
must notice it in our next number.

MONDAY POPULAR CONCERTS.

On the 30th of January, the" quartetts were Mendelssohn's No. 1,
in E flat (Op. 12), and Haydn's in G ; Madame Norman-Neruda lead-
ing, and the other parts being filled as usual by Messrs. Ries,
Strauss, and Piatti. The pianist was Madame Schumann, who
seems this year to be playing, if possible, better than ever. She
selected as her solo Schubert's poetic and passionate sonata in A
minor, her reading of which was distinguished by great fire and
impulse. She also joined Madame Neruda in Beethoven's sonata
in c minor, Op. 30 — the second of the set of three dedicated to the
Emperor Alexander. Though less known to the public than the
popular (so called) " Kreutzer Sonata," it is very little, if at all,
inferior to that famous work. We need hardly add that in the
hands of the two ladies its performance left nothing to desire.

On the 6th of February, the first violin was in the experienced
hands of M. Sainton, who led Mendelssohn's quartett in A minor —
a favourite work of its author's — and Schubert's very interesting
though somewhat diffuse quartett in D minor. The subject of the
variations which form the slow movement of this quartett, is taken
from the composer's song " Death and the Maiden." The plan of
introducing themes from his songs into his instrumental works, was
a favourite one of Schubert's. In the. finale of this same quartett,
the second subject is a theme from the " Erl King," though so
altered in its treatment that it is probable the large majority of
hearers would fail to recognise it. Other instances of the same
practice are to be found in the variations on the "Wanderer," in the
great fantasia for piano, Op. 15; on the "Trout," in the piano
quintett ; and on the song " Sei mir gegriisst " (Thou whom I vowed
to love), in the fantasia for p:ano and violin, Op. 159. The pianist
was again Madame Schumann, who besides joining M. Sainton in
Mozart's sonata in A for piano and violin, played (instead of a
sonata) two of her late husband's pieces— the "Arabeske," Op. 18,
one of his most popular and genial, though not one of his greatest
compositions, and the "In der Nacht," from the " Phantasie Stiicke,"
Op. 12, a piece certainly more representative of its author ; and, in
response to an encore, the " Traumes-Wirren," from the same set.
Herr Stockhausen was the vocalist both on this and the previous
Monday.

The concert of the 13th was signalised by the re-appearance of
Herr Joachim, who has come back in full possession of his unrivalled

powers. Never, perhaps, has he given a finer performance of Bach's
chaconne for violin alone than on this occasion. The work itself
is beyond the reach of any but a performer of the very first rank ;
but Herr Joachim triumphed over its enormous difficulties without
the slightest apparent effort, and gave also a most artistic reading of
the music. Probably no one now before the public possesses the
gift of self-abnegation to the same extent as Herr Joachim. In hear-
ing him, it is always the composer and not the player to whom we
listen ; and from Bach down to Mendelssohn and Spohr, the great
violinist has the power of entering fully into the spirit of whatever
music he interprets. The remainder of the programme comprised
Mendelssohn's quintett in B flat, Op. 87 (the first classical work
ever played at the Monday Popular Concerts) ; Schubert's melodious
piano quintett in A, Op. 114, which is but seldom heard in public ;
and Mendelssohn's " Scherzo a Capriccio " (also known as " Presto
Scherzando ") in F sharp minor, played by Madame Schumann, who
also took the piano in Schubert's quintett. The vocalist was Miss
Enriquez.

The programme of the 20th included Mozart's quintett for strings
in G minor ; Weber's piano sonata in D minor ; Beethoven's piano
and violin sonata in G, Op. 96 ; and Mendelssohn's pianoforte
quartett in F minor. Herr Joachim was again the first violin, Mr.
Charles Halle" the pianist, and Mr. Santley the vocalist.

SACRED HARMONIC SOCIETY.

On February 3rd, Handel's admirers were gratified by the oppor-
tunity of hearing one of his very finest oratorios, Samson. The
great composer is said to have considered this work his masterpiece,
preferring it even to the Messiah, which immediately preceded it in
the date of composition. And, indeed, the wondrous grandeur of
many of its choruses, such as "O first created beam," "Then
round about the starry throne," " Fixed in his everlasting seat,"
" With thunder armed," and " Let their celestial concerts," as well
as the great beauty of many of the songs, goes far to explain if not to
justify the preference. Samson certainly contains less "padding"
than many of Handel's oratorios, though it is far too long to be per-
formed in its entirety. Indeed, as we know from the conducting
score, the great composer himself used to make many "cuts" in
the work. On the present occasion, Sir Michael Costa's admirable
and judicious additional accompaniments were as usual employed.
The eminent conductor has been more sparing of his brass than in
some other works he has re-scored, and the effect is proportionately
better in consequence. The solo parts were entrusted to the com-
petent hands of Miss Edith Wynne, Madame Patey, Mr. Vernon
Rigby, Mr. Santley, and Mr. Lewis Thomas. The chorus, which
is always heard at its best in Handel's music, was fully up to the
mark ; and Sir Michael Costa, as usual, occupied the conductor's
desk.

For the next concert, on the 3rd of the present month, Men-
delssohn's St. Paul is announced.

ORATORIO CONCERTS.

The musical public is under great obligations to Mr. Joseph
Barnby, the conductor of these admirable performances, for giving
an opportunity from time to time of hearing Bach's Passion accord-
ing to Matthew, which was produced at St. James's Hall, at the
first concert of the present season, on the 15th ult. It was revired
at the last series of the Oratorio Concerts, on the 6th of April
last, not having been then heard in London for many years, and its
success on that occasion was such as fully to warrant its repetition.
Increased experience on the part of the conductor led to some
judicious modifications from the performance of last year. Thus,
the parts written for the now obsolete "oboi da caTxia" were
played by clarinets, instead of violas as before — certainly an im-
provement, though the exact effect could have been obtained by the
use of ' ' corni inglesi, " the compass of which is identical with Jh'at
of the older instrument. Probably, however, there might be a
difficulty in obtaining them with the lowered pitch. There is one
more alteration which Mr. Barnby might, we think, make with
great advantage. Why does he give the chorals without accom-
paniment ? There is the clearest evidence that the instruments
were intended to play with the voices, and we would suggest to the
conductor that at future performances of the work he should, from
reverence for the composer's intentions, restore them to their place
in the scofe. We have one more source of regret to mention, and
we have done with fault-finding. It was, we think, a great pity to
omit the beautiful choral, with figurate accompaniment, which
closes the first part, as it is one of the most characteristic examples
of a style of composition in which Bach stands unrivalled.

To attempt any analysis or detailed account of this extraordinary
work, js impossible in the limited space at our disposal. An. essay

March I, 1871.]

THE MONTHLY MUSICAL RECORD.

which would do anything like justice to the subject, would fill many
pages, and we must confine ourselves to a short record of the per-
formance. And it may be said, in one word, that it was one re-
flecting the highest credit on all who took part in it. The choruses
were, for the most part, admirably sung. The impressive opening
double chorus, with choral, " Come, ye daughters;" the stupendous
double chorus which ended the first part— " Have lightnings and
thunders in clouds disappeared, ' ' the effect of which may be appro-
priately described as electrical, and which won an undeniable en-
core ; and the pathetic final chorus, " In tears of grief," may be
specified as among the most noteworthy efforts of the choir. The
short and highly dramatic choruses of the Jews, in the second part,
were also most effective. The vocalists were Madame Rudersdorff,
who, whatever the style of music she may have to sing, is always
earnest and always competent ; Madame Patey, one of our very best
contraltos ; Mr. Cummings, who sang the arduous part of the
Evangelist with great expression ; Herr Stockhausen, who gave a
most admirable reading of the principal bass part ; and Mr. J. T.
Beale, who sang the recitatives allotted to him in a very effective
manner. In the contralto song, ' ' Have mercy, O Lord, " which
Madame Patey sang admirably, the violin obligato was excellently
played by Herr Pollitzer. The recitatives written with a figured
bass were accompanied on the piano by Mr. Randegger, and the
organist was, as usual at these concerts, Mr. Docker. The per-
formance attracted a very large audience, most of the musical nota-
bilities of London being present.

MADAME SCHUMANN'S RECITALS.
As announced in our last number, these two performances took
place at St. James's Hall on the 1st and 8th of February. As an
intellectual exponent of the highest class of music, Madame Schu-
mann has probably no equal, while her performance of her late
husband's music is a specialty worth a long journey to hear. Her
recitals are, therefore, always looked forward to as events of great
artistic interest, and those who heard her on this occasion were
certainly not disappointed. The first afternoon's programme com-
menced with Beethoven's sonata in E flat, Op. 31, No. 3, which
was given'with a breadth of style, and a finished accuracy of detail,
that could not have been surpassed. The staccato passages for
both hands in the very difficult scherzo were most charmingly
played, and the final presto was characterised by the greatest energy
and fire. Schumann's exquisite pieces, the " Davidsbiindler (Op. 6),
were a novelty to most of the audience ; full of poetic beauty and
fancy, and played as only Madame Schumann could play them,
they roused the hearers to enthusiasm, and the pianist was recalled
at the close of the performance. The programme also included
Bach's "Italian Concerto," a prelude by Mendelssohn (Op. 35,
No. 1), and Chopin's Nocturne in G minor, and Fantaisie-Im-
promptu in C sharp minor. The instrumental solos were relieved
by songs — Herr Stockhausen being the vocalist. Space will only
allow us to specify one — Schumann's " Fluthenreicher Ebro" — a
most exquisite love-song, equal even to the best of Schubert's, and
sung with such taste and genuine feeling that an undeniable encore
was the result.

The second recital was no less interesting than the first. It
included dementi's well-written but very dry sonata in B minor
(Op. 40, No. 2), not by any means one of the best specimens of the
"Father of the' Pianoforte." The applause with which It was
greeted was certainly due to the playing rather than the music.
Rameau's Gigue, Musette, and Tambourin were capital specimens
of the quaint grace of ^he old Frenchman, while Graun's Gigue
in B minor, which followed, was more remarkable for great difficulty
than for any intrinsic "interest in the musical ideas. Schumann's
most interesting sonata in G minor, Op. 22 (which was last played
here in public, if we remember rightly, by Miss Agnes Zimmermann),
is a very characteristic example of its author's peculiar style, showing
both his strength and weakness — the former in the poetic beauty and
charm of the thoughts, the latter in occasional diffuseness and a
tendency to overdevelopment, especially in the finale. It was
superbly played by Madame Schumann, who, however, introduced
several important variations from the printed copy — differences so
great that it is impossible they were slips of memory. Has she a
different version of the work from that published ? Her last per-
fprmance consisted of the first of Schumann's " Novelletten, " a
charming andante in E, by Sterndale Bennett, and Mendelssohn's
scherzo in E, Op. 16, No. 2. It is' worth mentioning as a remark-
able display of memory, that, with the single exception of Bach's
concerto, Madame Schumann played the whole of the works in
both programmes by heart !

As at the first recital, Herr Stockhausen was the singer ; and, as
before, Schumann's songs obtained the greatest share of applause —
his exquisite "Nussbaum" being encored, and tts " Friihlings-
nacht" narrowly escaping the same fate., Schubert's song, "An

die Leyer," was also redemanded, and his " Geheimes " given in
its place. The other vocal piece was a song, ' ' On yonder field of
battle," by Mr. Benedict — not, we venture to think, one of his most
successful compositions.

On the 14th ult. Mr. John Francis Barnett's Concert took place
at St. James's Hall. The chief feature of the evening was the first
performance in London of the cantata " Paradise and the Peri,"
which Mr. Barnett wrote for last year's Birmingham Festival. The
work is exceedingly well written throughout ; the composer has an
abundant flow of pleasing and natural melody, his harmonies are
tasteful and well chosen, and his orchestration excellent, and not
over-done. The principal singers were Madame Vanzini, Madame
Patey, Mr. Vernon Rigby, and Mr. Lewis Thomas, and the band
and chorus (conducted by the composer) numbered about 350 per-
formers. Mr. Barnett's conducting is admirable, undemonstrative
but very intelligible, and the whole work "went" in a most satis-
factory manner. It was evidently appreciated by the numerous
hearers, no less than four numbers being redemanded. The pro-
gramme of the concert also included Mendelssohn's concerto in D
minor, capitally played by the beneficiaire, and a miscellaneous
selection.

The first and second of a series of five "Musical Evenings" have
been given at St. George's Hall by Mr. Henry Holmes. On each
evening three instrumental works are given in a most finished
manner, and Mr. Holmes takes care in his programmes to include
works which are but seldom heard elsewhere. The first per-
formance, on the 26th of January, comprised Haydn's quartett in
B flat, Schubert's sonata in A minor, for piano and violin, and
Brahms' interesting sextett for strings in B flat. At the second
concert, on the 9th of February, Beethoven's trio for strings in E
flat, Mr. G. A. Macfarren's piano quintet in G minor, and Mozart's
quartett in c were given. Mr. Holmes was assisted by Messrs.
Folkes, Burnett, Hann, Pezze, Ould, and Reynolds in the string
department, the pianists being Messrs. Shedlock and W. H.
Holmes at the first and second concerts respectively. The per-
formances were also interspersed with vocal music.

At Mr. Ridley Prentice's Fifth Concert at Brixton, on the 14th
ult., the principal works performed were Haydn's quartett in F,
No. 82, Mendelssohn's prelude and fugue in e minor for piano,
Beethoven's sonata in C minor (Op. 30, No. 2), for piano and violin,
and Weber's pianoforte quartett in B flat. The same gentleman
has also commenced a similar series of concerts at the " Eyre
Arms," St. John's Wood, the first of which took place on February
9th. Mr. Prentice was assisted by Herr Strauss and Signor Piatti.
Schubert's trio in B flat, and Beethoven's sonata in A (Op. 69), for
piano and violoncello, were the most important works brought
forward.

The pressure of matter forbids more than a hasty notice of the
first concert of Mr. Henry Leslie's Choir, which took place on
Thursday, February 9th, at St. James's Hall. This choir has for
many years been without a rival in London for the performance of
madrigals, part-songs, and other unaccompanied vocal music. Of
late more attention has been given to works with orchestral accom-
paniment, but this season Mr. Leslie seems to have returned to
his former ground. At the first concert several madrigals (among
others Weelkes' well-known "As Vesta was") were capitally sung
by the choir, who also gave part-songs by Mr. Arthur Sullivan, Mr.
Leslie, and other authors. Mr. Sims Reeves and Mr. Santley were
among the solo singers, and the two clever boys, the brothers Le
Jeune, performed on the organ and pianoforte. The second concert
took place on the 23rd, after our going to press. We must, there-
fore, defer our notice of it till our next issue.

The only event requiring notice at the Opera Buffa has been the
successful production, on the 14th of February, of Cimarosa's
sparkling and lively opera, // Matrimonio Segreto. This work was
produced at Vienna in 1792, and it is recorded that the Emperor,
Leopold II., was so delighted at the first performance, that he gave
all who had taken part in it a supper, after which he made them
repeat the entire work ! The music is evidently written under the
influence of Mozart's style, though it is wanting in the depth of
feeling which pervades even the lighter compositions of the author
of // Nozze di Figaro. The principal characters were very effec-
tively sustained by Mdlles. Colombo, Bedetti, and Brusa, and
Signori Borella, Rocca, and Fabbri. Signor Bottesini conducted.

Austral &ott$.

The first private concert of the Civil Service Musical Society
deserves mention, as including in its programme an overture by
Kalliwoda, and the •' ' Gloria " from Mercadante's mass in D. Such

THE MONTHLY MUSICAL RECORD.

[March i, 1871.

enterprise on the part of amateurs is worthy of special com-
mendation.

Dr. W. H. Stone has been giving two excellent lectures at the
London Institution on " The Acoustics of the Orchestra."

The recent numbers of our contemporary, the Musical Standard,
contain some capital letters on Psalmody, by Mr. W. C. Filby.

Herr Kuhe has given, during the past month, a musical fes-
tival at Brighton. Among the works of interest produced were Mr.
Sullivan's Prodigal Son, and some new music to Schiller's Maid of
Orleans, by Mr. F. H. Cowen, both works being conducted by the
composers.

The annual " Reid Festival" at Edinburgh, under the direction
of Professor Oakeley, which took place on the 13th ult. , appears,
from the papers, to have been a great success. Mr. Charles Hall6
and his admirable band were engaged ; and they also gave two
concerts during their stay in the city.

Brahms' Deutsche Requiem was announced for a first per-
formance at the fourth Gesellschaft Concert in Vienna.

Alexander Seroff, a Russian composer of considerable repute
in his own country, died at St. Petersburg on the 1st of February.

"THE MONTHLY MUSICAL RECORD."

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Peters, Belsize Park). For engagements for Oratorios, Concerts,
&c. , address 67, Swinton Street, W. C.

MR. C. CLARIDGE (the new Tenor) is now at
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TUNING.
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Harmonium and Pianoforte repairs and renovations, is open to
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Apply by letter, A. B., Post Office, Deptford.

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ORGAN MUSIC.

The plates and copyrights of the following works (formerly published by
Mr. A. Whittingham) are now the property of Messrs. Augener & Co., and
to be had at reduced prices.

Collection of the best and most effective ancient and modern Fng7ies,
transcribed for the Organ, with Pedal obligato. Edited by W. J. Westbrook.

Book I. 7s. 6d.
2 Fugues by John Bennett ; 2 Fugues by Eberlin ; and Fugue by Girolame
Frescobaldi.

Book II. 7s. 6d.
Fugues by Domenico Scarlatti, John Bennett, Albrechtsberger, Eberlin,
Dupuis, and Umstaff.

Book III. 7s. 6d.
Fugues by John Bennett, Dr. Arne, Cat's Fugue by Scarlatti, and 3 Fugues

by Eberlin.
HANDEL, G. F., Six Fugues or Voluntaries. Op. 3. Arranged £ s. d.

for the Organ, with Pedal Obligato by James Higgs o 6 o

Five Fugues from the " Suites de Pieces pour

le Claverin." Arranged for the Organ, with Pedal Obligato by

James Higgs ... 046

HILES, J. Six concluding Voluntaries. Selected from the Works
of Classical Authors : —

1. "Quoniam tu Solus" (From Op. in) Hummel 026

2. O Lord in Thee have I Trusted (Chorus from

" Chandos Te Deum ") Handel 026

3. Amen (from Stabat Mater) Rossini 026

4. Storm Chorus (Seasons) Haydn 026

5. Marvellous, Lord, are Thy Works (Seasons) ... Haydn o 2.6

6. Oh Thou Eternal God (Crucifixion) Sj>ohr 026

SPOHR. Grand Final Chorus from "The Last Judgment"

(Great and Wonderful are all Thy Works). Arranged by E.

Clare „, ... ... ,., ,,, ... ,,. ... ... o ^ o

New Edition, Svo.

J. S. BACH'S
FORTY-EIGHT PRELUDES AND FUGUES.

WITH PORTRAIT, BIOGRAPHY, &c.
EDITED E~5,T E. DP^TTEiR.

Bound in red paper cover, 6s. Coloured cloth, gilt sides and

edges, 8s.

London : AUGENER & CO., Beethoven House.

CARL ENGEL'S

Piano School for Young Beginners.

Bound, 12s. ; or in Four Parts, each, 4s.

"This unpretending little book is judiciously compiled, and is calculated
to be a useful manual for the pianoforte teacher in the earliest stages of
instruction. " — Daily News.

" It seems sensible enough in its precepts, and its examples to be chosen
with a view to variety and progress. — Athenaum.

London : AUGENER & CO., 86, Newgate Street.

R. SCHUMANN.

Myrtle Wreath (Myrthen), Op. 25. Twenty-six Songs with Piano- £ s. d.
forte Accompaniment. Edited by E. Pauer ... ... Net 040

London : AUGENER & CO.

FRANZ SCHUBERT.

The Maid of the Mill (Die Schone Mullerin). Twenty Songs with
English and German Words. Edited by E. Pauer ... Net o

London : AUGENER & CO., Beethoven House.

NEW SONGS.

JULES BENEDICT. My Heart the Eolian Harp Resembles.

Sung by Mme. Pauline Lucca 030

SCOTSON CLARK. New Patriotic Song, " For Queen and

Fatherland."

1. Soprano or Tenor 030

2. Contralto or Bass 030

3. Four-part Song, S. A. T. and B 016

4. Marching Song, T. T. and B. 010

HAMILTON CLARKE. Lost Love. Romanza. Sung by

Mme. Rudersdorf and Miss Edith Wynne 026

Softly Roll'd the Night Surge. Song 026

Summer and Winter 030

Under the Tree ... ... ... 030

DOLORES. Spirit of Delight 030

VIRGINIA GABRIEL. I'll Meet You to-night, by the Garden-
gate ... 030

Love, the Pilgrim 030

PHILP, ELIZABETH. The Violets of Spring (Die blauen

Fnihlingsaugen). Song 030

London: AUGENER & CO., Foubert's Place,
Regent Street.

J. S. BACH.

My Heart ever Faithful Air for Soprano :—

No. 1. — In F, for Voice with Cello, or Violin and Pianoforte... 030
2. — In F, for Voice with Harmonium and Pianoforte. By

E. Prout 040

3. — In D, with Piano o 2 o

4. — In C, with Piano 020

5. — Arranged for Organ by Thomas Kilner o 2 °

London : AUGENER & CO., 86, Newgate Street.

G. F. HANDEL.

But, oh, What Art can Teach ? Air from St. Cecilia's Day ...020

Ditto, arranged with Harmonium and Pianoforte Accompaniment

by E. Prout 030

London : AUGENER & CO., Beethoven House;

April I, 1871.]

THE MONTHLY MUSICAL RECORD.

% SPM&Iff Mnmul $ttttx1>.

APRIL 1, 1 87 1.

CONCERT PROGRAMMES.

The study of foreign musical newspapers, with the details
they afford of the progress of the art abroad, is both in-
teresting and instructive. At the same time it must be
confessed that it is not a little tantalising. The record
of the music produced in Germany during one week
merely, is enough to make an amateur's mouth water.
Nearly every town of any note has its own orchestra, fre-
quently also its own chorus ; and the programmes of the
performances show an amount of research on the part of
the directors, to which it is difficult to find a parallel in
this country. If we except the admirable Saturday Con-
certs at the Crystal Palace (at which, thanks to Mr.
Grove and Mr. Manns, an opportunity is afforded of
hearing the best productions of the present as well as the
past) and Mr. Joseph Barnby's excellent concerts, there
is hardly a society in England at which there is more
than a very small chance of hearing anything but a few
stock pieces — very good, no doubt, but which one would
gladly see put on one side for a time, to give place to
other works. In the domain of sacred music, how many
of Handel's nineteen oratorios are ever produced ? Bel-
shazzar, Saul, Athalia, Joshua — four of the old master's
grandest compositions (not to mention others), have been
shelved for many years. Haydn's " Seven Last Words "
and " Stabat Mater," Graun's "Te Deum " and "Tod Jesu,"
are all worthy of an occasional hearing ; but they never
get one. Then again, to take Bach, Mr. Barnby has re-
cently given us the Passion according to Matthew, for
which he has the best thanks of musicians ; but shall we
never hear a performance of the Passion according to
John, which is but little inferior to it, or of the High Mass
in B minor, or the " Magnificat ? " In instrumental music
it is just the same. How many of Haydn's 118 sym-
phonies, or of Mozart's 49, are ever performed, except at
Sydenham ? And in chamber music, though Mr. Arthur
Chappell has done excellent service at the Monday Popu-
lar Concerts, yet even there, though to a much less extent
than in many other places, a spirit of (shall we say?)
conservatism seems to prevail ; and many fine works
might be mentioned which have not yet had their turn.
In Germany, on the contrary, almost every week during
the season witnesses the production of some novelty, or
the revival of some unearthed treasure from the almost
exhaustless mine of the older masters. To prove that we
are not speaking at random, we take up the first number
that comes to hand of the Signale, a musical paper pub-
lished at Leipzig. It chances to be the one bearing date
Feb. 14th of the present year, and on looking through it
we find accounts of the revival of Bach's " Magnificat" and
the first performance of five new works — an overture and
piano quartett by Ferdinand Hiller, a symphony by Ulrich,
a string quartett by Franz I achner, and a hymn for
female chorus and harp b" .ieinberger, besides announce-
ments of at least as many more novelties in preparation.
In an English week of concerts, supposing five new com-
positions brought forward, four at least would, in all pro-

bability, have been " royalty ballads " — that is (as many of
our readers will know), trashy songs which our vocalists
lower themselves and their art by singing, because they
are paid to do so. What is the reason of the difference ?

If one of our concert-directors were asked why so many
masterpieces were neglected, his answer would most likely
be, " It would not pay to produce them." And here lies,
we think, the whole gist of the matter. In Germany
music is treated as an art ; in this country it is chiefly
looked on as a business. The great question is not what
is good, but what pays. Of course we are not so Quixotic
as to expect men to sacrifice their capital for the sake of
elevating public taste ; but we maintain that the produc-
tion of the best music would pay, in the long run. We
believe that the Crystal Palace Saturday Concerts, and
the Monday Popular, are among the most profitable
speculations of their kind. They both draw large audi-
ences— audiences, too, whose tastes have been educated by
these performances ; so that neither Mr. Manns nor Mr.
Chappell need ever fear to introduce a novelty lest it
should not draw. On the contrary, the announcement of
a work " for the first time " is sure to be attractive.

But it would be unjust to our concert-givers to lay the
whole responsibility of the present state of things on their
shoulders. The audiences have largely themselves to
thank for it also. In the majority of cases they go to a
concert not to hear music at all, but to hear singers ; and
so long as their favourite vocalists appear, no matter
what trash they may sing, the public is ever ready to
applaud. In an artistic sense, the demoralising royalty
system, to which we have already alluded, and for the ex-
istence of which singers are chiefly to blame, also tends
to the perpetuation of this inactivity. The audiences are
fed by those who ought to know better on " the husks
which the swine do eat ;" and thus their taste is vitiated,
and they learn to be content with vapid inanity, because
their pet singer prostitutes his or her talent, and degrades
art for the sake of filthy lucre.

There are not wanting, however, some indications of
improvement even in the midst of so much that is dis-
couraging. The increasing number of concerts for the
performance of classical chamber music — such as those
of which notices are found from time to time in our con-
cert intelligence — at which novelties are not excluded lest
they should not " draw," seem to show a healthier tone of
feeling ; and we may feel assured that, at all events in
London, the demand on the part of the public for more
variety and enterprise in the programmes would soon
produce the desired result.

FRANZ SCHUBERT'S MASSES.

BY EBENEZER PROUT, B.A.

( Continued from page 29. )

3. THE MASS IN B FLAT, OP. 141.

Schubert's third mass dates (according to his bio-
grapher, Kreissle von Hellborn) from the year 181 5, the
same period as the mass in g, last noticed in these papers ;
and, according to the same authority, is performed at
Vienna more frequently than any other of its author's
masses. It is published by Haslinger, of Vienna, as Op.
141 ; and as the mass in c, which was produced a year
later, bears the Opus-number 48, it is to be presumed that
the present work was not engraved till some time after its
composition. While in no respect equal in originality or
novelty to either of its predecessors, it is yet an interesting
work ', and though in its general characteristics resembling

THE MONTHLY MUSICAL RECORD.

[April I, 1871.

the six grand masses which Haydn wrote for Prince
Esterhazy, it still bears marks of Schubert's individuality.
Indeed it seems to have been impossible for him to write
any large or important work in which he did not leave,
more or less distinctly visible, the stamp of his own pecu-
liar genius ; and though this mass is, on the whole, very
much in Haydn's and Mozart's manner, we shall find the
genuine Schubert " cropping up " from time to time, as
we proceed with our analysis. Nevertheless, judging
from internal evidence merely, one would have been
inclined to assign this work to an earlier date than those
in F and G.

The mass in B fiat is written for four voices, the usual
string quartet, two oboes, two bassoons, two trumpets,
drums, and organ. The orchestra is therefore much more
complete than in his second mass in G. In the parts
" oboes or clarinets " are indicated ; but one can feel
sure, from the way in which these parts are written, that
the oboes were the instruments intended by the author,
and that clarinets were only to be used when oboes could
not be had. The same indication is to be found in the
mass in c (No. 4) and in the "Tantum ergo" (Op. 45).

The " Kyrie " of the present mass (b flat, adagio con
moto, £, 84 bars) opens, after one bar for the strings, on
the chord of B flat, with a forte on the word " Kyrie " for
the whole chorus and orchestra, repeated, after one more
bar's symphony, in a different position of the chord, and
leading, at the eighth bar, to a half-close on F: —

b=fci

^^^

=S=£

lei - son, e - lei - son, &c.

At the following bar the voices enter with the strings;
and the forte in the second bar of the above extract is
now given to the orchestra alone, thus obtaining variety
by reversing the previous arrangement. A full close in
the key of F succeeds, followed by the " Christe," which
is first given as a solo to the soprano, a solo oboe echoing
with great elegance the cadence in the second bar. Three
bars later the chorus enters piano, the alto, tenor, and
bass tutti accompanying the soprano solo. A somewhat
analogous passage has already been met with in the
" Gloria" of the mass in G. Graceful florid passages for
the violins, which there is no room to quote, accompany
this part of the music. Space must, however, be spared
for the bold modulation into D flat, which follows on a
cadence in F, and for the opening of a passage of imi-
tation for the voices, recalling the "Kyrie" of Haydn's
Imperial Mass : —

HHNHs

V. 1, V. a, all Zva.

Each succeeding voice part enters on the next higher
degree of the scale, till the music ascends to a half-close
in D major, the fifth of G minor, on which note the trum-
pets are introduced soli, with a sforzando succeeded by a
piano : —

Trombe. unis.

Ifegfes

*> p sf

a kind of foretaste of the beautiful solo effects from the
brass, which Schubert, later in his career, was one of the
first to introduce. After a modulation to F, the " Kyrie "
is again introduced with the original subject, and from
this point no new matter of importance is introduced till
we reach the end of the music, when the composer again
gives us one of the pedal points to which he seems to
have been so partial, accompanied by elegant arpeggios
in semiquavers for the violins, and pianissimo rolls for
the drum. A lovely effect also must be noticed four bars
from the end of the movement, in which the trumpets
pianissimo give the notes of the chord of B flat in arpeggio
and in octaves : —

Trombe.

the notes, from their pitch as well as from their quality of
tone, being distinctly audible through the sustained chorus
and moving violin parts.

The opening movement of the " Gloria " (b flat, allegro
vivace, g, 67 bars) is not remarkable for novelty or origi-
nality. After a forcible unison passage of four bars for
the orchestra, the voices enter with a somewhat common-
place theme. The accompaniments are vigorous, espe-
cially the florid violin parts, and the whole movement has
abundance of spirit ; but there is nothing about it particu-
larly characteristic of its writer, and any one hearing it
might just as easily imagine it to be by Haydn as by
Schubert. Still it is most enjoyable music, breathing
throughout a spirit of joyful praise. At the "Gratias
agimus," a melody of eight bars is allotted to the soprano

April I, 1871.]

THE MONTHLY MUSICAL RECORD.

solo, which is then repeated in a slightly varied form as a
duet for soprano and tenor. The chorus re-enters at
" Domine Deus, rex ccelestis " in broad and massive
chords for the voices, with florid phrases for the orchestra ;
and the first movement of the " Gloria " concludes with
the opening unison phrase, now given to the orchestra in
the key of F. The " Domine Deus, agnus Dei" (adagio,
D minor, f, 55 bars) is far superior in musical interest to
the chorus last noticed ; and is, indeed, one of the finest
movements of the mass. After two bars of prelude for
the strings, it commences as a bass solo in detached
phrases, the close of each phrase being echoed by an
oboe and bassoon in octaves : —

Ob. Fag. all Zve.

Ob. Fag.

Do - mi-ne De • us, ag - - mis De - i, &c.

Bassi.

After four bars more in the same strain, the chorus enters
piatio with the words " Miserere nobis," in a passage in
which, though the ascent of the bass by semitones can
hardly be called novel, yet the effect is so fine as to de-
serve quotation. The voice parts alone are given, to save
space : —

Sop.

mi - se • re- re

bis,

mi - se - re - re

tear

5fafcFj=d=g=rt4=3E^3£

gj^rTH^g

Alto>_ £

mi - se - re - re no - bis, mi - se- re - re no - - bis,
mi - se-re-re no - bis, mi - se-re-re

mi - se - re - re, mi - se - le - re

AJ^UJ.^A-J J.-^U^-J.

This fine sequence is accompanied by a semiquaver
figure for the violins, which there is no room to quote, to
the word " nobis " at the close of the extract. Particularly
worthy of note is the effect of the flat sixth in this place
on c, followed by the chord of D, perhaps the most
pathetic cadence in the minor key that is known to
musicians. The whole passage is then repeated (begin-
ning as a tenor solo in G minor) with slight variations,
and the choral " Miserere " now closes in D minor. Here
is found another example of Schubert's carelessness in
setting his text, already adverted to in these papers. The
words "Suscipe deprecationem nostram" are altogether
omitted. At the "qui sedes" (soprano solo) our author
introduces one of his favourite rhythms for the orchestra-
dotted quavers followed by semiquavers ; and a half-close
in G minor for the chorus, piano and decrescendo, brings

us to the " Quoniam " (tempo primo, E* 94 bars). As is
frequently the case in setting these words, the opening
portion (24 bars) is identical with the commencement of
the " Gloria." At the " Cum Sancto Spiritu," we meet
with what (with all respect to the composer) we must say
is one of the most ludicrously weak specimens of imitative
writing to be found in the whole range of music. A
theme is first announced by the basses, and taken up in
the octave by all the other voices successively ; but after
singing the phrase of four bars, each part, instead of con-
tinuing with some fresh counterpoint, leaves off, until the
alto is left to finish alone, with an effect that is almost
absurd. Here is the passage : —

Cum, &c.

Ten.

Cum, &c. , I . IS . '

Bass. I

Cum sancto spi - ri-tu in

^e^--N=M3

o - ri - a De - i pa

The whole of these seven bars are then repeated in the
fifth above, after which an entirely new subject, in the key
of F, is given out (the bass leading as before) and treated
in precisely the same way. This new subject is then
repeated in the key of B flat, after which the scientific (?)
treatment of the text is abandoned altogether. In justice
to Schubert, it must be said that the whole effect of the
passage is not so bare and thin as would appear from the
extract just given, as there is a florid and brilliant accom-
paniment for the violins to the whole, which space does
not admit of quoting ; but as scientific writing it is pro-
bably unique in its weakness and triviality. Admiration
of an author should not render us blind to his defects ;
and it must be allowed that, with all his brilliant genius,
Schubert was not great as a contrapuntist. Indeed the
only really good fugal writing to be found in his sacred
works, is met with in his last and best mass in E flat.*
The rest of the movement now under notice consists of a
very spirited coda (piu moto) with two good pedal points,
and animated and bustling orchestration, bringing the
whole " Gloria " to an effective conclusion.

The " Credo " is written throughout much more in the
conventional style than the same portion of the masses in
F and G. Unlike these, moreover, it is in three move-
ments, instead of being throughout in one. The opening
chorus (allegro vivace, B flat, f , 54 bars) commences with
a " canto fermo" for the chorus in unison, accompanied
by the full orchestra, which forms the groundwork of the
whole movement : —

Sop., Alto, (Ten. <&= Bass, all Zve.)

Bassi, (Vni. &> Va., all Zve.)

* Unless there should be any good fugues in the unpublished mass in A
flat, of which, unfortunately, I have not been able to obtain a copy.

the monthly musical record.

[April t, 1871.

The wind instruments play with the voices, but fill up the
harmony more fully at the cadence in the last two bars
quoted. At the next bar, on the words " Patrem omnipo-
tentem," the chorus breaks into harmony, with florid
passages for the violins, vigorous and effective, but of no
special originality. After a full cadence in B flat, the
basses intone the original " canto fermo " to the words
" In unum Dominum Jesum Christum," the passage being
now given as an accompaniment to semiquaver figures in
the orchestra. At the next words, " Filium Dei uni-
genitum," the same melody is given to the whole chorus,
but now in the key of F, and in full harmony instead of
in unison, the alteration at this point being very effective.
The movement is continued in the same style, the original
theme appearing at intervals, till a. piano passage of eight
bars for the chorus, to the words " descendit de ccelis,"
leads through a close in the key of F to the " Et incar-
natus " (adagio, F minor, B, 20 bars). This movement
commences with a bass solo of four bars ; the rest of the
solo quartet then enters, and leads through a fine cadence
in B flat minor, at the words " Et homo factus est," to the
" Crucifixus " (piu moto). After one bar of semiquavers
for the violins, the figure of which is unceasingly main-
tained till the end of the movement, the chorus enters,
piano, with fine chromatic harmonies: —

^=&5S

Coro.

(V. simili.)

Cm -ci- fix - us
P > fe I J

=ta=g=t

^i^E2EE££

'-gg-ter

E3^g— ife

e - ti - am pro

1. 1

bis, sub

U 1 1 ^-P -f-

Pon - ti - o Pi la - to, &c

J.-J'J. J. Jr^J_ 1

— i-J *:— I i—J-t-^u. — r_

soprano, alto, and tenor voices enter, accompanied by the
strings in unison: —

r~r-T

The close in F minor which succeeds will almost be antici-
pated by our readers. The " Et resurrexit (B flat, f, tempo
primo, 73 bars) is in the same style as the first movement
of the " Credo," and constructed almost entirely of the
same materials. After what has been said about that
movement, there is therefore nothing to delay us here.
This entire part of the work may be characterised in a
few words as very pleasing and melodious music, effective
in performance, but not great, nor at all equal in origi-
nality to the corresponding portions of some of the other
masses of its author.

The " Sanctus" (b flat, O, adagio maestoso, 17 bars) is
not particularly striking. There is only need to notice
with respect to it that (as in the masses in F and c) the
" Osanna," contrary to the prevailing custom, is not
treated fugally. The following " Benedictus," however
(f major, g, andante con moto, 48 bars), is one of the
most genial and melodious movements in the entire mass.
As already mentioned, Schubert seems, for the most part,
specially successful in setting these words, and the present
piece is no exception to the general rule. It is written
entirely for solo voices, the chorus only entering at the
close to repeat the " Osanna," as required by the Romish
ritual. After a symphony of six bars, in which the chief
theme of the movement is given out by the orchestra, the

Altai - — ■ - - '+ p>

Be - ne_- diet - us, qui ve - nit in no-mi-ne Do - mi-
Ten.

g^g^E^^

At the next bar, the entry of the bass completes the
quartet ; and after a close in C, a counter-subject of
great elegance is introduced in the same key, with triplet
semiquavers for the violins, and pizzicato notes for the
basses, while the soprano and tenor voices imitate one
another in the octave, the alto and bass filling up the
harmony. The effect of the whole passage is charming ;
but no extract would give a fair idea of it, unless there
were room to print the full score of the entire phrase.
These two subjects form the groundwork of the movement,
which is constructed in strictly regular form, the first and
second themes reappearing in their usual places. Before
taking leave of this lovely " Benedictus," we must just
quote the concluding cadence for the voices, immediately
preceding the repetition of the " Osanna " already ad-
verted to : —

SaJ>. qui ve - nit in no - mi-ne

~F~T~i» m-'
Alto.* £j

»-r-i* — »*teJ f— B ' — ' — I — 6» — r—

The "Agnus Dei" (G minor, g, andante molto, 18 bars)
is written in a solid ecclesiastical style, but is not particu-
larly novel in idea or melody, and is chiefly noteworthy
as containing examples of Schubert's fondness for ac-
companying one solo voice by the other three parts of
the chorus. Here at the first occurrence of the words
" Miserere nobis," the soprano solo is accompanied by the
alto, tenor, and bass tuttij and, on their repetition, the
soprano, tenor, and bass chorus sing with an alto solo.
The " Dona nobis " (b flat, f , allegro moderato, 77 bars)
is, if considered simply as music, most delightful. Whe-
ther it is as appropriate to the words as the settings we
have met with in the masses in F and G, is quite a different
question. A spirit of gaiety, almost of levity, pervades
the whole, and seems rather more suggestive of the idea
that the singers are relieved that the service is over, than
of a "prayer for inward and outward peace," as Beet-
hoven describes it in his mass in D. No doubt the power-
ful authority of Haydn and Mozart may be adduced in
favour of such a close to the mass ; but the question of
propriety remains none the less open. The " Dona "
now under notice commences with four bars for the solo
voices : —

April I, 1871.]

THE MONTHLY MUSICAL RECORD.

The theme is then repeated by the chorus, closing with a
full instead of a half cadence on B flat. The music flows
ceaselessly on, the composer pouring out one melody after
another with that profusion for which he was so remark-
able. The violin parts are mostly very florid, and the effect
of the whole is — for want of any other word to express
my meaning, I fear I must say— "jolly." An effective
point is met with about the middle of the movement,
where the solo quartet alternately repeat the word
"pacem," each having only one bar at a time to sing.
At the last resumption of the first subject, it is varied in
the following curious and interesting way : —

Vni. i, 2

These four bars are then repeated in the key of E flat
and the close of the whole piece follows almost imme-
diately.

Though not by any means one of the finest of Schubert's
works, the popularity of this mass on the Continent is not
to be wondered at. It abounds in beautiful melodies, is
brilliantly scored for the orchestra, and makes no great
demand on either singers or players. It contains enough
good music to have made the reputation of a smaller
man ; it is not unworthy to rank with the best of Haydn's
and Mozart's works of the same kind ; and it is only by
comparing it with what its own composer has done else-
where, that it can be considered a work of but secondary
importance.

MUSICAL INSTRUMENTS AND THEIR
MANUFACTURE.

THE manufacture of some of the chief musical instru-
ments has within the last forty years made such important
progress in quality and quantity, pianos and brass instru-
ments especially have been so much improved, that it
will not be without interest, I feel assured, to those who

may read these pages, if I here give some data from the
information I was enabled to gather while engaged in
drawing up an official report of the last International
Exhibition held in London, in 1862.

The manufacture of pianos has been remarkably
increased in England, more particularly in London only ;
but it is even more astonishing to observe the extension
of this branch of industry in smaller places, such as
Stuttgart, the principal city of Wurtemberg. In 1806,
Schiedmayer, from Nuremberg, was the sole piano-
forte manufacturer in the Suabian capital ; there are
now no less than thirty-eight thriving houses in this
trade, which export their instruments, grand, square,
and cottage, to many different parts of the world ! But
to look again at home, we cannot but be impressed
with wonder at the extraordinary production of the
world-renowned house of Messrs. John Broadwood and
Sons, who from 1780 to 1826 made no less than
48,348 pianos, but from the latter year to 1861, the
immense number of 75,700 — a yet more surprising
aggregate ! It is reckoned that London alone produces
some 23,000 a year ; we may therefore assume, without
fear of exaggeration, that England, France, Belgium, and
Germany, with Austria and Switzerland, do not supply less
annually than 60,000 pianos !

An interesting feature of the Exhibition of 1862,
was the great influence exercised by social peculi-
arities upon the tone of the instruments contributed
by different countries. The English instruments were
powerful and brilliant, adapted for rooms covered with
thick carpets, and hung with heavy window-curtains —
and also for a denser atmosphere. The French were
characterised by a more metallic, shrill timbre, much
liked by the French themselves, and to be remarked more
or less in each kind of piano made by them. In German
pianos a smaller but clearer and more singing tone was
noticeable, which might find explanation in the lighter air
of that country and absence of carpets in the houses. But
from an artistic point of view it was not cheering to find
an inordinate increase in the cottage shape over that of
the grand. A pupil will more easily comprehend good
touch and singing tone by using a grand than a cottage,
and experience has shown that an amateur accustomed to
a grand — be it only a two-unison instrument— will play
with greater distinctness than is attained to when only a
cottage can be had. These small pianos have too
frequently a muffled, dull tone, and on inferior instru-
ments of this kind it is really difficult for a pupil to learn
the difference that should exist between loud and soft
playing.

In looking at the difference in the stringing of pianos of
the present day and those of earlier date — for example,
that of one of sixty years ago, of five and a half octaves,
with two strings to a note, and a seven-octave, three-
stringed instrument, with the heavy tension of the present
day, the following comparison is presented : — The thickest
bass string in the old instrument was no thicker than the
highest treble string in the modern, and was so weak that,
tested by Streicher's* machine, it bore no more than
50 lbs. weight, while a similar length of wire of Miller's
drawing, and of the same thickness, will bear 122 lbs. The
tension of the last treble note, the C with two strings, of
the old instrument, is only 46 lbs., while the same note of
the. modern three-stringed grand gives 315 lbs. The whole
tension of the strings of the old grand was 42J cwt., that of
the modern grand reaches 300 cwt. (15 tons) ; it speaks

* Herr Streicher, of Vienna, reputed one of the best European pianoforte
makers, has invented a machine for the exact calculation of the tension of
the strings of pianofortes, and has published the results in detail in a pamph-
let, from which I have taken these figures, entitled " Streicher's Saiten-
waage nebst einer Tabelle uber die Saitenzugkraft, &c. &c."

THE MONTHLY MUSICAL RECORD.

[April I, 1871.

well for the progress that has been made in constructing
pianofortes, that while the instrument of sixty years ago,
without mechanism or cover (technically "top"), with
tension of 42^ cwt., weighed 108 lbs., our modern one, with
tension of 300 cwt., does not weigh more than about
300 lbs. In round numbers we may now say that an in-
strument weighing a hundredweight will endure the
tension of 100 times as much, while in the earlier days of
the manufacture, the makers could only venture to meet a
tension of 42 £ times as much.

There is an erroneous opinion afloat that pianos are
dearer than they were years ago. That the contrary can
be maintained, a few moments' reflection will show.
Pianos by makers of reputation were formerly sold at
prices equivalent to those of the present day, while the
cost of making them, seeing how much less the tension
was to provide against, must have been very much less.
The old grand of fifty years ago was about the same
price as the boudoir grand of the present day. To any
one who will look at the two instruments, the stringing
and framing of the one and of the other, the difference in
the amount and expense of the work must be evident
at once, and the comparative cheapness of the modern
piano be recognised, as much as its superiority is estab-
lished as an instrument over what the old grand in its
best days could ever have been. The concert grand is,
again, of a higher excellence, with which no old instru-
ment can be brought into any comparison — in a question
of price.

Concerning "stringed instruments," Germany produces
the greatest number, but France, from Mirecourt, Departe-
ment des Vosges, furnishes an important contingent.
This Mirecourt in France, with Mittenwald in Bavaria,
and Markneukirchen in Saxony, are the three factories
for the people. All, old and young, father and son,
mother and daughter, assist in making violins.

Mirecourt, in Lorraine, has thirty large factories for
violins. In the year 1680, the first was- founded by one
Me"dard. The reputation his violins gained for him was
so great, that from about 1700 to 1720, pupils from
different parts of France came to him to profit by his
instructions. The Mirecourt fiddle-makers use every
pattern, but each, nevertheless, has his speciality in
which he excels. The models chiefly followed are Stradu-
arius, Guarnerius, Amati, and Maggini. The tone of
these cheap violins — their prices begin at three francs and
a half — is agreeable and singing, and they are of much
service in academies and orchestras. The workmanship
of them is good and neat. The varnish may to the taste
of some be too red, but it must not be overlooked that
these fiddles come mostly into the hands of the poorer
classes, who like a showy appearance. This thriving
little French town, which also produces guitars, zithers,
and pianos, may be called the cradle of French Luthiers.
Vuillaume, Mirmont, and other celebrated violin-makers
were all born and brought up there. In Mittenwald, in
Bavaria, about a hundred families live solely by the manu-
facture of stringed instruments. They have a peculiarly
good material at hand. When this industry, about
twenty-five years ago, suffered from the rivalry of Mirecourt
and Markneukirchen, the Bavarian Government sent two
of the cleverest young makers, at the expense of the State,
to Paris and Brussels, and also to Munich, to learn all
that could be acquired of their art in those capitals.
Precaution was taken that good models of the best makers
should be bought for imitation ; and on their return these
talented masters were employed in visiting each factory
twice a week, to superintend the work and select the
necessary materials. The price of the cheapest violin, in
Mittenwald, is not more than one shilling / This manu-

facture has since deservedly recovered its high reputation.
The most remarkable activity is, however, displayed at
Markneukirchen, in Saxony, on the Bohemian frontier.
Three hundred years ago manufacturers from this place
brought their products to the fairs at Nuremberg, and
have now nearly a monopoly in supplying America with
musical instruments. The quantity of violins made there
seems almost fabulous ; the average production is 36,000
a year, but in one particular year as many as 54,000 were
sold. The patterns the makers work after are very
numerous ; the catalogue of one dealer (Schuster) furnishes
no less than 300 for violins, and 200 for bows. Fiddles
for children are sold at six shilling? a dozen, and others
fit for use in village orchestras at from seven shillings and
sixpence to nine shillings a dozen ! The price rises in
scale to ,£30 a dozen, which is the highest. Curious ugly
figures and designs are found on the backs of some of these
instruments : sometimes a burning castle, sometimes a ship-
wreck, or a lion. These are destined for musical negroes,
who like, as well as pleasing sounds, something stirring
and effective to look at. As Markneukirchen also produces
a large quantity of brass instruments, the annual sum
realised by instruments of all kinds made and sold there
amounts to a million and a half of Prussian thalers
(,£220,000) ! In making strings Markneukirchen has,
in modern times, outdone Italy, as the annual receipt
from this branch of trade is not less than half a million
of thalers !

The zither, popular in Germany, but little known here,
is made at Vienna, Munich, and in Saxony, and with
much care ; of these small instruments some three
thousand are sold every year. Reed instruments are
produced in the best manner, combined with cheapness,
in France. In the Exhibition of 1862, flutes for 12 francs,
and clarinets for 45 francs, were shown, admirable in
tone, and of surprisingly neat workmanship. Hitherto
the greatest number of brass instruments has been supplied
by France, Germany, and Austria. It is only of late
years that England has entered into competition with
those countries by making them in any large number
One little instrument, the jew's-harp, is a most important
manufacture to the lovely little town of Steyr, in Styria,
for in the year i860 no less than six millions were pro-
duced there. Also accordions (German "concertina")
are of much commercial importance to Saxony and Vienna,
which produce about 30,000 per annum. From these
figures, taken as they have occurred to me, and without
design, we find that the delightful art of music has not
only, by charm of melody and harmony, tended to alleviate
sorrow and soften pain ; the manufacture of the instru-
ments from which music is drawn has given daily bread
to thousands and hundreds of thousands of families, and
the extension of musical knowledge and enjoyment con-
sequent upon the diffusion of music through all grades of
society, a cheerful aspect of the present time, permits us
to hope that it will long continue to do so. E. P.

MUSIC IN VIENNA.

(from our special correspondent).

Vienna, i$lh March, 1871.

THE programme of the seventh Philharmonic concert
opened with the overture to Mehul's La Chasse du jeune
Henri— once a favourite at all concerts, now quite out of

April I, 1 87 1.]

THE MONTHLY MUSICAL RECORD.

date. One of the smaller symphonies by Mozart followed.
This symphony in c major has no minuett, and was com-
posed in the year 1780 in Salzburg {vide Kochel's Mozart-
Catalogue, No. 338). The most interesting part is the
Andante, written in a very soft and melancholy style ; it
could not have been executed more delicately than by
our orchestra. Bach's vigorous toccata in F major, in
the excellent arrangement of Esser, was likewise per-
formed magnificently. New was a symphony by a young
composer of Vienna, Herr Jos. Forster. It is a respect-
able work, but wants originality, and suffers from the fault
of all the first large compositions of young composers — of
employing with too little economy the whole orchestra.
The chief number of the fourth Gesellschafts concert was
the most important composition '"Ein Deutsches Requiem,"
by J. Brahms. Regarding the limited space at my dis-
posal, I can give you only a small detailed account of this
extraordinary work. It is divided into seven parts ; the
words are taken from the Holy Bible, and speak of the
transitoriness of this world and the hope in the next life.
The composition is one of the sublimest fruits of the last
forty years ; the influence of Beethoven's Missa Solennis
is evident. The skilful treatment of all sorts of counter-
point is stupendous ; the orchestral part admirable and
never over-done ; the choral writing excellent ; in short,
sublimity, grandeur, and science are united in a work
which is an honour to our time. There are only two solo
parts — baritone and soprano. The deepest impression, is
made by the second part, with its dead march ; the third
part, with baritone solo, finishing in a bold and striking
manner — a double fuga, build on a pedal-point through
36 four-minim bars, kept on the contra D, by the contra-
bassi, violoncelli, tromboni, tuba, tympani, and organ — an
effect quite overpowering. The fourth part, like the first,
is in a suave and melodious manner ; the fifth number,
with a soprano solo of solemn and impressive character,
interwoven with wondrous harmonies and abounding in
scientific writing, imitations in augmentation, diminution,
canons of all sorts, yet never stiff and hard or laboured.
The sixth part is the summit of the whole. The shudder-
ing of death, the gravity of transientness, are expressed
with gigantic power. A triple fugue, bold in conception,
shows the master educated in the school of the great
Bach. After the impression of this enormous part, it was
well done to finish the work by repeating a portion of the
first part. Soft and quiet, ornamented with the mildest
orchestra accompaniment, the work ends in a soothing
manner. The reception of this masterpiece was enthu-
siastic, and the composer, who conducted with energy and
skill, was called again and again. I allow myself to draw
the attention of your choral societies to this Requiem.
The execution is not easy, but I am sure the chorus will
study it with zeal ; as for the two solo parts, you have
the excellent interpretation of Mdlle. Tietjens and Mr.
Santley. The performance takes an hour and a quarter ;
the translation would be easy enough ; it wants only to
copy the single lines from the Holy Bible, and to change
some notes caused by the English words, with the co-
operation of the composer. As your excellent Oratorio
concerts conducted by Mr. Barnby were not frightened
at Bach's Passion-music, I hope they will also take an
interest in a work of a living composer— of a conscientious
and richly-gifted artist who, like his friend Joachim, free
from egotism, has only in view the dignity of his art.
The aria with violin obligato by Mozart, sung by Frau
Wilt in the same concert, is noticed in Kochel's Catalogue,
No. 490 (Rec, "Non piu ! tutto ascoltai ;" Aria, "Non
temer, amato bene "). This aria, well fitted for a mixed
programme, was composed in Vienna in the year 1786 as
an additional air in Mozart's Idomeneoj it is published by

Breitkopf and Hartel as No. 1 1 of a collection of 12 airs
by Mozart.

The second concert of the Singakademie was adorned
by some interesting choruses : " Agnus Dei," by Ph.
Em. Bach ; two madrigals by Oowland and Morley ;
" Friihling," by Vierling ; the well-known hymn by Men-
delssohn, for soprano solo and chorus ; and two songs for
double chorus by Schumann (" Ungewisses Licht " and
" Talisman "), both specimens of striking choral writing.
The pianist, Herr Jos. Labor, performed Beethoven's
sonata in G major, Op. 31, with truly ideal perfection.
He gained much applause ; likewise Frl. Anna Schmidtler
by her delivering of three Lieder, by Schubert and B.
Hopffer. The music-seller, J. P. Gotthard, arranged a
second " Novitaten Soiree," in which his last publications
were performed by a number of artists. Again it was
Schubert who delivered four new numbers : two songs by
Metastasio ("Non t'accostar all' Urna" and " Guarda,
che bianca luna"), a sonata, A minor, for violin (originally
arpeggione) and piano, and an unfinished sonata, C
minor, for four hands. Ig. Brull, an industrious young
composer, was successful in his concert with Beethoven's
sonata. Op. in, and Schumann's Carnival. Bernhard
Scholz, Kapellmeister from Berlin, composer of the operas
Ziethertsche Htisareti and Morgane, invited a circle of
musical friends to hear some of his compositions, as a
trio and quintett for piano, songs, and duetts. They are
formed in an unexaggerated style ; the composer played
the piano part, and proved himself a pianist of" solid order.
Some other concerts took place in the saloons of Streicher
and Bosendorfer, the two eminent piano-makers, but my
space forbids to follow them ; I mention only the Ouartett-
soiree by L. Jansa, with which he took leave of the public.
You know him well, this honourable old man (born in the
year 1797), once member of the Hofcapelle and dismissed
in the year 185 1, having taken part in London in a con-
cert for the relief of the Hungarians. Time has changed :
Jansa enjoys a* small pension, and the Hungarians, for
whom he suffered, play now the first violin in this land.

The next weeks will be very rich in musical enjoyments.
It is our height of the season, which finishes just when
your summer season begins. The Gesellschaft der Musik-
freunde gives two extra concerts ; the first quite resem-
bling an international concert, with foreign artists :
Griitzmacher (violoncello), Wieniawsky (violin), Nicolaus
Rubinstein (piano), Vogl (tenor), Hill (basso), &c. ; in
the second concert will be performed Bach's Matthaus-
Passion. The programme of the next concert of the
Akademische Gesangverein, for the first time under the
conductorship of Ed; Frank, will include Brahms' Rhap-
sodie ("Fragment aus Gothe's Harzreise im Winter")
for alto solo, male chorus, and orchestra, Op. 53, and
"Das Liebesmahl der Apostel," by Richard Wagner ; the
Haydn-verein performs the Creation and the "Seasons"
as centenary celebration of this institute ; there is also
the third concert of the Singakademie, and the last
Philharmonic concert, and some private concerts. I now
take leave of the concert-room, to enter the more pre-
tentious Opera. •

The Opera suffered much all this time by indispositions
of the singers, suddenly and not suddenly. It is the
custom to give every Sunday the programme for the whole
week ; but it is like a wonder when it can be once adhered
to. In the last weeks it happened often that the
announced opera was changed three and four times during
the day, to give way at last to a worn-out opera, as Norma
or Tell. I give you the whole programme from the 15th
February to the 1 5th March : — Masaniello, Romeo and
Juliette, Faust, La Juive, Domino Noir (each twice) ;
Fliegende Hollander (three times) ; Rigoletto, Afrikanerin,

THE MONTHLY MUSICAL RECORD.

[April I, 187I.

Norma, Tannhauser, Figaro's Hochzeit, Mignon, Tell,
Freischiitz (each once). That is fourteen operas by ten
different composers in twenty-one evenings ; the rest (seven
evenings) with the ballets : Gisela, Flick and Flock, Monte
Christo, Satanella, Sardanapal. One evening was a
mixed representation for the benefit of the sufferers by
the last inundation of the Danube. The Fliegende Hol-
lander continues still to attract the public ; in preparation
is Rienzi, which, though one of the oldest operas of
Wagner, never was performed in Vienna. The role of
Elizabeth in Tannhauser, performed till now by Frau
Dustmann, was sung by Frl. Ehnn ; but this time she
could not reach the former. The opera Faust was repre-
sented with Walter (Faust), Mayerhofer and Schmid alter-
nating (both excellent Mephistopheles), Ehnn and Minnie
Hauck alternating (Margarethe). In La Juive Herr
Ellinger, from Pesth, sang the role of Eleazar, being in-
vited for this evening to save the efforts of the much-
occupied tenors Walter and Labatt ; the third, Herr
Miiller, is reconvalescent, and will be shortly on his way
for London. The most conspicuous musical event was
the performance of the charming opera Le Domino Noir,
first representation in the new Opera House. All the roles
were in the best hands, first of all that of Angela, once
a first-rate representation of Mdlle. Artot's. The very
talented and industrious Mdlle. Hauck, though she is not
so eminently gifted as the former, sang and played with
natural grace. She never sang the role before, as also
many others, which she studied in Vienna in so short a
time, and not yet well acquainted with our language.
Her rendering of Angela was truly appreciated by the
public. She is again engaged for two years — a real gift
for our ope"ra comique. The other representations, Frl.
Gindele (Brigitta), Herren Walter (Horatio Massa-
rena), Rokitansky (Gils-Perez), and our famous basso
Herr Mayerhofer (Lord ElforJ, proved an exquisite en-
semble. This result is the more valuable as the large
Opera House, as I mentioned formerly, fs not at all fitted
for the comic opera. The mise-en-scene of the opera was
handsome ; orchestra and chorus left nothing to be desired
— in short, the whole representation, under the eminent
conductorship of Herr Herbeck, was one of the most
prosperous evenings in this house of splendour and
lustre.

MUSIC IN NORTH GERMANY.

(FROM OUR SPECIAL CORRESPONDENT.)

Leipzig, March, 1871.

The concerts during the last six weeks here in Leipzig
brought only two prominent events. The first and most
important one was the performance of Handel's oratorio,
Samson, at the eighteenth Gewandhaus concert, on the
2nd of March ; the other was the presentation of Elijah
by Mendelssohn, on the 10th of March, in the Thomas-
kirche, by Riedel's choir.

Samson we have, to our great regret, missed during
the last eight years from the programmes of our concerts
here. Now this noble, incomparable work of art, in its
sublime majesty, its deep devotion and feeling, in its
might, its imperishable freshness and never- withering
youth, came again before us, not failing to make the most
vivid impression, although its performance in the com-
paratively too small room of the Gewandhaus, partly
through the limited number of voices, partly through the
want of the organ, could not bring all the beauties of
Handel's masterwork into full relief. However, the above-
mentioned shortcomings influenced the performance but
little, as all the performers evidently felt the inspiration
of their lofty task ; consequently they not only steered

clear of all mishaps, but exhibited a deep-felt earnest-
ness and a sublime and elevated tone. The chorus,
although compared with the orchestra too weak in num-
ber for the more powerful passages, was effective by
its freshness, certainty, and precision, not less than the
beautiful quality of the voices.' The orchestra performed
its technically easy task most carefully. Of the soloists
I must name Herr Gura as Manoah first. This ex-
cellent artist sang his part with deep feeling, and in some
passages with an expression of sacerdotal grandeur and
dignity.

Not less worthy of praise was the representation of
Michah by Fraulein Schmidt, from Berlin. This lady
we heard first in a concert of the English organist Carter,
of which I shall have to speak presently. Fraulein
Schmidt is in possession of a beautiful, carefully trained
alto voice, even in all parts of the register, and of great
compass. Both the noble timbre of the voice, and the
way it is used for artistic purposes, are praiseworthy.
On the other hand, the performance of Herr Wolters,
from Brunswick, who sang the part of Samson, can only
be called passable. To our thinking the representa-
tion of this part suffered through want of power of his
voice. Herr Wolters' tenor could only represent in
Samson the ailing, half-broken hero ; in all the more
powerful passages his voice was too weak. Fraulein
Gips sang the part of Delilah neatly and purely, hut there
was a want of the sensual tempting in her performance,
which seems to have been intended as characteristic of
this part by Handel.

The performance of Elijah deserves the warmest ac-
knowledgments of all friends of music. The solos were
in the hands of the ladies Weckerlin from Dessau and
Nanitz from Dresden, Messrs. Robert Wiedemann and
Ehrke from here. The two ladies sang their parts in
every respect excellently, also Herr Wiedemann was
good. Herr Ehrke, who at the last moment had to take
the part of Elias in place of Herr von Milde (suddenly
taken ill), satisfied the expectations, which could, under
such circumstances, naturally not be of the highest.
Chorus and orchestra were equally good.

Of interest were also the sixteenth concert on the 9th, and
the seventh Chamber-music Soiree on the 1 ith of February
in the Gewandhaus. Both evenings were particularly attrac-
tive, through the assistance of the Cologne Capellmeister,
Herr Dr. Hiller. The honoured guest brought a whole
collection of new works of his composition with him.
These were " Suite" for the pianoforte, played by Herr
Hiller very neatly, without being much appreciated by the
public. On the other hand, his "Zwei Gesange fur
weibliche Stimmen," " Nachtlied," and Friihlingsgelaute,"
found the warmest reception. The last song had, in fact,
to be repeated. Both songs are lovely and taking, and
form a valuable addition to the choruses for female voices,
of which there are not a great many. A new overture by
Hiller to Schiller's Demetrius formed the finale of the
concert. Of the new compositions by Hiller this work
is, at all events, by far the most important one, both
as regards invention, construction, and instrumentation.
The overture was executed with fire and impulse under
the direction of the composer.

In the Chamber-music Soiree, on the nth February,
Herr Hiller played, together with Messrs. David, Her-
mann, and Hegar, his quartett for pianoforte, violin,
viola, and violoncello (Op. 133). The great length of this
work makes the want of interesting subjects all the more
felt, and Herr Hiller could only obtain a studs d'eslime.
Much more taking were the three solo pieces for piano-
forte, " Gavotte," " Sarabande," and the often-played and
deservedly popular "Zur Guitarre." Herr Hiller played

April I, I87I.]

THE MONTHLY MUSICAL RECORD.

these fine and ingenious compositions highly tastefully,
and reaped much applause.

The eighteenth Gewandhaus Concert, on the 16th of
February, brought, besides the excellently executed or-
chestral works, symphony in D major, by Mozart, and
suite in canonical form, by Grimm, solo performances by
our highly-esteemed Concertmeister Ferdinand David,
and aria from Don Giovanni, " Io crudel," aria by Lotti,
and songs by Mendelssohn and Schubert, sung by Frau-
lein Anna Regan, from Vienna. Herr Concertmeister
David played Mozart's concerto in D major, and Andante
and Chaconne for violin with figured bass, by Leclair,
with the high technical perfection, and the fine feeling
and noble expression, which have stamped him as an artist
of the first class on his instrument, and for which he has
always been honoured and esteemed. Fraulein Regan
possesses a well-sounding but not very powerful voice,
but uses the same in such a truly artistic, intelligent, and
tasteful manner, that she wins every heart. Particularly
lovely and charming was the young lady in the rendering
of the aria by Lotti, and the songs.

The concert for the benefit of the Orchester Pensions-
fond of the Gewandhaus, on the 23rd of February, was
a true Pasticcio as regards the many-coloured pro-
gramme. It was opened by the " Friedensfeier " over-
ture, by Reinecke, the same of which I spoke so highly
in my first letter. The greatest enthusiasm was caused by
Herr Lotto again, who played Viotti's D minor concerto
(with a cadence introduced by the famous virtuoso), and
the " Witches' Dance," by Paganini, with more than won-
derful bravura and precision. A very excellent perform-
ance was also the duet from Euryanthe, sung by Frau
Peschka-Leutner and Herr Gura.

The Chamber-music Soirees have, unfortunately, come
to an end for this season with the eighth evening, on the
25th of February. I say unfortunately because those
evenings used to bring invariably the noblest, purest en-
joyment. Bach's concerto for two principal violins, with
accompaniment of two violins, viola, and bass, formed the
commencement of the concert. The solo violins were in
the hands of Herren David and Rbntgen. The work
contains a deeply affecting, wonderful largo movement.
Beethoven's A minor quartett (Op. 132) made the finale,
after Capellmeister Reinecke had played the fantasia and
fugue in c major for the pianoforte, by Mozart, in incom-
parably beautiful style.

Mr. George Carter, from London, gave also here, on
the 1 2th of February, a concert in the Nicolai-kirche, in
which he proved that he fully deserves the reputation
which had preceded him as one of the first of living
organists. Mr. Carter possesses great expertness in using
pedals and manuals, masters the giant instrument with
never-failing certainty, and thoroughly understands how
to register. The works which he played were a sonata
in D minor by Ritter, allegretto from Mendelssohn's
" Hymn of Praise," arranged for the organ ; very effec-
tive variations of his own composition ; prelude and fugue
(e minor) by Bach ; and the Barcarole from Bennett's
concerto in F minor. The concert was assisted by the
ladies Adler and Schmidt (the latter of whom I mentioned
above as taking part in the performance of Elijah) and
Herr Gura.

From Berlin I have to report the re-appearance of
Madame Lucca as Zerline in Mozart's Don Giovanni.
The Hofoper has now received back its most popular
and excellent singer. Out of the great number of con-
certs in Berlin, I will mention the concert of the Cathedral
choir. Both the programme and the performance deserve
praise throughout. From the rich programme the best
numbers were, " Furchte Dich nicht," by Bach, and the

motetto "Nimm von uns Gott, Herr," by Hauptmann.
I do not know whether Hauptmann's church compositions
are known in England, and have been introduced to the
excellent English choirs ; but as Hauptmann's name is
to be found but seldom on programmes of concerts in
England, I will not omit to draw attention to the church
compositions of the deceased Thomas-Cantor, and will,
besides the motetto mentioned, name the grand mass (G
minor) with orchestra ; Salve Regina, for mixed chorus,
with organ ; three church pieces (Op. 43) with orchestra ;
the motett " Ehre sei Gott in der Hohe," for male chorus,
with trombones and horns ; six sacred songs for four
parts, mixed chorus a. capella (Op. 42), and the mass for
double chorus. These works by Hauptmann are amongst
his best ; they are pure in style, true in feeling, and devout
in expression.

Joachim played before his departure for London, on
the 6th of February, at the Conzerthaus, his Hungarian
Concerto and SpohiJs Dramatic Concerto ; both perform-
ances were followed by never-ending applause.

At Breslau the last Orchestra Concert of this season
will be under the direction of Herr Capellmeister Seifritz,
the founder of this institute, Herr Dr. Damrosch leaving
there to follow an honourable invitation to New York.

The Florentine Quartett of Messrs. Jean Becker, &c,
gave in Hamburg five Quartett Soirees, attended with the
greatest success. The performance of these players, so
highly finished both as regards mechanism and expres-
sion, will assure them hearty reception wherever they
may go. Also at Dresden these gentlemen have met
with full recognition.

Herr Capellmeister Carl Reinecke, the excellent director
of the Gewandhaus Concerts, one of the best pianists
of the present day, esteemed and honoured also as com-
poser, has told me that — after the season here has been
closed by the performance of the St. Matthew-passion,
by Bach, on the 7th of April — he intends to leave for
England on the 8th. He will first play in Bradford,
Leeds, and Manchester, and then in London. You
will have an opportunity to hear, under his direction, the
Friedensfeier Overture, of which I have spoken so highly
in my letters. Besides, he will play his trio (Op. 38) ; con-
certstiick (Op. 33) ; " La Belle Griseldis," for two piano-
fortes ; variations on a theme by Bach (Op. 52) ; and
some smaller works, such as notturnos (Op. 69), ballad
(Op. 20), and others. All these compositions by Reinecke
are distinguished by nobility and delicacy of invention,
as well as : finished mastery of form and shape. The
English public has already twice had occasion to become
acquainted with Herr Reinecke, and I have no doubt but
that it will get to know, esteem, and honour this noble
and intellectual artist more and more.

ContsJpon&ence*

ARTISTIC CONSCIENTIOUSNESS.

To the Editor of the Monthly Musical Record.

Sir, — In the old Troubadour days, when poet, composer, and
executant were united in one individual, there can be little doubt
but that the original intentions of a generator were faithfully retained
by the reproducer. Of course, under such circumstances this could
not have been otherwise ; but now, in our day, the conditions of
musical art are changed -perhaps not for the better, but still they
are changed — -and we have to take them as we find them, and not
treat matters hypodietically. Song now has assumed a kind of
tri-une form — the words of one man being set by another to certain
symbols convertible into music, while to a third is delegated the
reproduction of these in the form of sound ; in other words, this
third or middle man does not create, but is commissioned to repro-

THE MONTHLY MUSICAL RECORD.

[April I, 1871.

duce in a living form what otherwise would be to most persons but
dead matter. Thus to a vocalist— when he has given the melody
and attached the words in the best form on a substratum of quality
(his obvious duty)— is left solely a limited amount of light and shade
(inflection), and a still less amount of variableness in speed. This
is his province in the distribution of art-labour. Probably the
limitation in the demand on a vocalist's brain-power, is the cause of
the licences pointed out by you in your article as taken by singers ;
yet an action prompted by ignorance, by stupidity, or by conceit
can scarcely be brought forward as an argument against the action
itself, but solely against the influence which dictated it ; the action
may be a right one in itself, but wrong in so far as its motive is
base, and its application unjust. Now a composer who deputes to
another man the privilege which he himself possesses to render his
own works, virtually takes that man into partnership with himself,
and cannot for one moment expect that all the freedom shall be his
while his co-worker is bound down to a thraldom little short of
slavery. The article on this subject would seem to imply such
proposition. It is true that a Tenderer "is bound in common
honesty as far as possible to reproduce the original intentions of the
writer ; " but it is equally true that a writer may not have succeeded
in representing those original intentions— nay, more, he may know
that he has fallen short of his conceptions of the subject he has
selected to represent. Under such circumstances it is, it must be,
admissible for a vocalist to make any alterations which can be
logically proved to carry out in a better manner the original inten-
tions of the writer ; moreover, the reproducer is entitled to claim
the credit arising from such improvement. The real fault lies in
the want of collateral education both in writers and in Tenderers;
imagination is, as we are told by metaphysicians, a thing needing
restraint, and not an effect of laboured constructiveness, and so
long as imagination runs wild, uncontrolled by strict logical reason,
we shall always have writers who will degrade art by a neglect of
context, and Tenderers who will degrade art by selfish and egotistical
motives. " Art," says Dr. Ruskin, " followed as such and for its
own sake, irrespective of the interpretation of Nature by it, is de-
structive of all that is best and noblest in humanity ; " then, when
art is rightly followed, we may hope to find singers who can and
will alter music for the belter presentation of original intentions, and
we may hope to find musicians who will take from their co-workers
such alterations with gratitude, rather than with disgust.— I am,
Sir, yours truly, Charles Lunn.

Edgbaston, Feb. 23, 1871.

[Our correspondent's letter referring to the leading article in our
February issue arrived just too late for insertion last month. We
have much pleasure in inserting it now, as it is only fair that both
sides of a cause should have a hearing. At the same time we can-
not see that he has made out his case. We do not admit that the
composer, under any circumstances, virtually takes the performer
into partnership with himself. If the principle be carried out to its
full extent, any man who writes a quartett for four voices, thereby
gives any one of the four singers who may perform it the right to
make any improvements which can be logically proved to be such.
All four might be able to make really judicious alterations in their
own parts, and if each did that which was good in his own eyes,
the probable result would be something fearful to imagine. And if
one singer may do this, why not four ? But our article referred more
especially to the tampering with the works of the great masters ;
and surely our correspondent would not maintain that Handel,
Mozart, or Beethoven had not succeeded in reproducing their own
original intentions ! If a man does not know what he wants to say,
or how to say it, he has no business to compose, and his music will
certainly not be worth performing.— Ed. M. M. R.]

&fbteto&

Coneertone, far 2 Solo-Violinen, Oboe, Violoncell, und Orckester
von W. A. Mozart. Partitur (Coneertone for Two Solo-
Violins, Oboe, Violoncello, and Orchestra, by W. A. Mozart.
Full Score). Hamburg : A. Cranz.

The wonderful fertility of Mozart's genius is one of the most re-
markable phenomena in the whole range of musical history. Pro-
bably no composer ever wrote so much — certainly none ever wrote
so many masterpieces — in such a short life. The wonderfully
laborious and exhaustive catalogue of his works compiled by Dr
Kochel, and published in the year 1862, enumerates 626 distinct
compositions from his pen ; and when it is considered that the list
includes twenty-three operas (several of the scores of which fill four
or five hundred pages of manuscript each), forty-nine symphonies

forty-six concertos, and twenty masses — to say nothing of smaller
vocal and instrumental works of every description — it is perfectly
astounding that in a life of only thirty-five years one man should
have been able to accomplish so much. And if the quantity of
Mozart's music is astonishing, scarcely less so is its wonderful
charm. Of course, writing so much as he did, it is only natural
that he should not always rise to the full height of his powers.
Many of his pieces are undoubtedly weak ; some are merely boyish
attempts at composition, while others, written for a particular occa-
sion, or for a special performer, and frequently in great haste, are
deservedly consigned to oblivion. But after taking away all such,
the number of works which will probably continue to delight musi-
cians to the end of time is wonderful. It is not surprising that out
of such an enormous collection, many pieces should be still unpub-
lished, and that eighty years after the composer's death we should
have to announce the appearance of a new work (if we may so
speak) from his pen. The piece now before us is assigned by
Kochel to the year 1773. It is therefore an early work of its
author ; but it bears throughout the impress of his peculiar style.
In the present day, when technical execution has made such
advances, and concertos are but too often heaps of meaningless
difficulties, many violinists would perhaps look with contempt on
the solo passages which Mozart has written for the players ; yet
performers with a pure tone and fine style, who know how to make
their instrument speak, would be sure of their effect with an audience.
The first oboe, curiously enough, has a double function. In the tuttis
and in some of the solo passages, it is treated as merely a constituent
of the orchestra; but from time to time, it steps out from among
the other instruments and becomes " concertante." The solo-
violoncello is treated in the same manner. The work is in the
usual form of a concerto, and commences with a spirited allegro
in C (common time), in Mozart's most pleasing manner, with a triple
cadenza at the end for the two violins and oboe, which is written out
in full. The Andantino grazioso (f major 3-4), is exceedingly melo-
dious and elegant ; and the final Tempo di Menuetto, though (as is
often the case with our author) inferior to the rest of the work, is
bright and lively, and forms a good conclusion to the whole. The
score is most beautifully engraved ; and we should add that an
arrangement of the coneertone for two violins and piano is also to be
had. In this shape it will be available, and certainly acceptable, to
all lovers of Mozart.

Sextetl, for Two Violins, Two Violas, and Two Violoncellos. By

Johannes Brahms. Op. 18. Berlin : N. Simrock.
Trio, for Piano, Violin, and Violoncello. By Johannes BRAHMS.

Op. 8. Leipzig : Breitkopf & Hartel.
Quartett, for Piano, Violin, Viola, and Violoncello. By JOHANNES

Brahms. Op. 26. Berlin : N. Simrock.
Trio, for Piano, Violin, and Horn (or Violoncello). By JOHANNES

Brahms. Op. 40. Berlin : N. Simrock.

In the year 1853, Robert Schumann, in his " Neue Zeitschrift flir
Musik," announced the appearance of a new star on the musical
horizon ; and spoke of him as a musical Messiah, who was to usher
in a fresh dispensation, and accomplish what he (Schumann)
had only striven to attain. This new light in the firmament
was Johannes Brahms ; and the first performance of some of his
works at Leipzig was the signal for the outbreak of a great contro-
versy among musicians. The party of the "Romantic" school
were enthusiastic in their praises ; their watchword was "Schumann
is great, and Brahms is his prophet." On the other hand, the
"moderate" party, as they were termed, while accrediting the
young composer with great talent, found in his works much harsh ■
ness, want of mastery of form, and immaturity. The dispute may be
said to be still undecided. Herr Brahms has taken a leading posi-
tion among the composers of the New German school ; but his
claims to a place in the first ranks of musical creators are by no
means universally admitted. The new "Gospel according to John,"
is not everywhere accepted ; and it has therefore been with consider-
able interest that we have examined the works now under notice, that
we might form an unprejudiced judgment as to their merits. Now the
first thing that strikes us in reading them is that Herr Brahms is a
very unequal writer. By far the best of the compositions before us
is the sextett for stringed instruments. The ideas are original
throughout, and often very striking, and the work is to a great
extent free from that over-elaboration and diffuseness which seems
to be Brahms' great fault. The opening movement is charming,
from beginning to end ; the variations in D minor which form the
slow movement are very interesting, and the finale is full of pleasing
melody, though too much spun out in the middle portion. This is
the work which was recently performed at one of Mr. Henry
Holmes' chamber concerts, and those who peruse the score will
not be surprised at the favour with which it was received. It
shows us the composer at his best. The two trios and the quar-

April i, 1871.]

THE MONTHLY MUSICAL RECORD.

tett exhibit him in a less favourable light. He is evidently a man
who thinks for himself ; his subjects are always unborrowed ; but
there is a want of clearness of form, and a tendency to over-develop-
ment, which seems more or less to characterise all the modern
German school of composition, and which greatly impairs the effect
of the whole. We do not forget that the same criticisms were made
with reference to Beethoven's music at the time of its appearance ;
and it is possible that the time may come when Brahms' works
may be accepted as a model ; but until thought and idea comes to
occupy only a secondary position, and elaboration is considered the
one thing needful, we do not see how this can take place. Melody
in all these works, except the sextett, is subordinate to harmony ;
and the vagueness of the thematic treatment causes them to re-
semble a series of fantasias for three or four instruments, rather than
classical compositions such as we are accustomed to meet with.
There is much in all of them that will be interesting to musicians ,
but we much doubt if they, or any similar works, are destined to
effect the revolution in the art which Schumann predicted.

Arrangements for the Organ. By Ebenezer Prout. London :

Augener & Co.
Original composition for the "king of instruments" has by no
means ceased since Mendelssohn contributed — in his three preludes
and fugues, Op. 37, and his six sonaats, Op. 65 — the grandest
specimens after Bach. Some admirable pieces have appeared from
time to time, by English as well as by Continental composers ;
worthily increasing the already large repertoire of the organist, and
supplying a want which has become much greater during recent
times, when the organ has been raised in importance, and the
performers on it have augmented in numbers and skill, in this
country. A special feature of this progress has been the multi-
plication of arrangements from vocal and instrumental works,
both sacred and secular, whereby the organ is made to realise,
among many other effects, the vast combinations of chorus and
orchestra, and the resemblance to various contrasts of different
instruments — results not otherwise possible. The use of the
pedals as independent agents, now so universal with organists,
confers an advantage similar to the addition of a third hand ;
and a single player, on an instrument of adequate scope,
can now reproduce the most sublime and complex music of the
grandest composers — Bach, Handel, and Beethoven — in a manner
approximating to the effect of the original scores. An objection
to many collections of arrangements for the organ is, that they go
largely over the same ground ; and the purchaser of several finds
that much of the contents of each is the same. In the work now
referred to, but very few of the twenty-four numbers have appeared
before in this shape. Four (Nos. 3, 6, 15, 24) are extracts from
Bach's sublime Church cantatas — the scores of which are only
accessible to subscribers to the long series of volumes published by
the German Bach Society, that are not to be obtained separately.
In addition to these are many movements from other sources which
have been left untouched by adapters for the organ : Bach's
Christmas Oratorio, and his Mass in b minor ; Cherubini's 2nd
Mass, Handel's Chandos Anthems, and some of his ignored oratorios,
with secular works of Mozart, Clementi, Dussek, and Beethoven,
have contributed extracts of high value and interest to the volume
of Mr. Prout — who has brought to his task long familiarity with the
works of the great masters, practised skill as an organist, and earnest
zeal in the undertaking now referred to. The arrangements are
made (as all such arrangements should be) in three staves ; the
pedal part being independent of the manuals. Full directions are
given for combinations and changes of stops ; and the volume —
beautifully printed and engraved— is an addition of great and per-
manent value to the organist's library.

Original Pieces for the Organ. By Scotson Clark. 15 Numbers.

London : Augener & Co.
Mr. Clark's music has achieved a considerable degree of popu-
larity ; and an examination of the pieces now lying before us makes
the explanation of such popularity very simple. All his compositions
are distinguished by pleasing and intelligible, if not strikingly
original, melody ; he has the happy knack of writing what will catch
the ear, and his compositions are designed with a thorough know-
ledge of the instrument for which he writes, and are, moreover, always
tolerably easy. It is not, therefore, to be wondered at that they
should have a large sale. Most of these organ-pieces will be found
suitable as voluntaries: some of them— such as the "Melodies,"
N03. 5 and 6 of the collection, and the "Communions," will be use-
ful as opening movements, while the offertories and marches, though
written in the light French style of Wely, will find acceptance in
many churches where lively voluntaries are in favour. The com-
poser has judiciously marked the stops throughout ; and all the

pieces can be played, by a little management, on organs of a
moderate size.

Glad Tidings, Caprice ; Jolle Babette, Styrlenne ; White Lilies,
Melody ; Singing Rills, Caprice ; Rlgoletto, Gulllaume Tell,
Don Pasquale, Fantasias, for the Piano. By EDOUARD Dorn.
London : Augener & Co.

When a really good musician lays himself out to write simple pieces
for the benefit alike of pupils and teachers, he confers a positive boon
upon the musical profession. Those who have many lessons to
give, and who are conscientious as to what they teach, know how
difficult it is, in spite of the vast quantity of new music continually
published, to find pieces suitable to the capacity of average school-
girls, and yet which are not such pitiful stuff as to be only fit for
the waste-paper basket. Of course, there is classical music easy
enough to be within the reach almost of beginners ; but, to say
nothing of the unfortunate fact that giving classical music to some
pupils is like ' ' throwing pearls before swine, " it would be a great
mistake to teach only such music, even in cases where it would
be appreciated. Herr Dorn's pieces supply exactly what a good
teacher would require. They never aim at being deep ; all are
simple in form, tuneful, brilliant, and reasonably easy. The com-
poser is evidently capable of greater things than these, but he has
written down to the popular level, without writing trash. We fancy
we see him laughing in his sleeve as he inserts such directions as
Con entuslasmo, Con fur la, or Con clvetterla — which last phrase, by
the way, we never remember to have met with before. The
operatic arrangements are effective and showy without being too
difficult ; and both they and the original compositions may be
cordially recommended as drawing-room pieces which are sure to
be popular.

Let my Entreaties (Se i miei Sospiri). Aria di Chiesa, 1667, by

Stradella, for Soprano or Tenor with Piano.
Ditto for Alto or Baritone with Piano.
Ditto for Soprano or Tenor with Piano and Harmonium (or Violin,

or Violoncello), arranged by E. Prout.
Ditto arranged for Organ, by E. Prout. London : Augener & Co.
Stradella's wonderfully pathetic and beautiful aria (also known
under the name of " Pieta, Signore ") has been introduced at concerts
in this country on more than one occasion, and is pretty generally
known to musicians. It is, therefore, only necessary here to notice
the appearance of these various editions. That for the voice, with
accompaniments for piano and harmonium, will be found useful to
those who have the two instruments at their disposal, as very little
music is published for the same combination ; and both the vocal
and instrumental parts are quite easy enough to be within the reach
of average amateurs. The arrangement for the organ by Mr. Prout
is also very simple— indeed, the nature of the music prevents its being
otherwise — and will be suitable as an introductory voluntary.

In the Beginning was the Word. Sacred Cantata, with Piano or
Organ accompaniment, arranged from the Orchestral Score.
Composed by Leo Kerbusch, Mus. Doc. London : Augener
& Co.

From the internal evidence, we should guess that this work was an
exercise for a degree, as there is a great deal of scientific writing
in it, which proves its composer to be a careful and diligent student.
We cannot but think Dr. Kerbusch to have been very unfortunate in
his text. The opening verses of the Gospel according to John are not
particularly suitable for musical illustration ; and none but a composer
of genius could draw much inspiration from such words as those of
the chorus, page 26, ' ' Which were born not of blood, nor of the will
of the flesh, nor of the will of man, but of God." The cantata is
a somewhat curious mixture of styles. The opening chorus is one
of the best movements in the work ; it is written in a solid and
ecclesiastical style, and the short phrases for chorus piano, near the
close, interspersed with passages of recitative for a bass solo, are
well conceived and effective. The following piece, a bass solo with
chorus, " In him was life," is written somewhat in Handel's manner,
with long and florid ' ' divisions " for the solo voice, that give an
exceedingly old-fashioned character to the music. After a tenor
recitative and air, which are not very striking, occurs a chorus,
".That was the true light," treated fugally, and containing some
very good passages of close imitation. The duet for soprano and
alto, ' ' He was in the world, " is as modern in style as the bass solo
already mentioned is antiquated. It is not without points of in-
terest ; but why does Dr. Kerbusch begin the piece in c, and close
it in F ? The eight-part chorus, above adverted to, ' ' Which were
born not of blood," is somewhat weak ; but the unmusical nature
of the words may well account for this. After a few bars of soprano

5°

THE MONTHLY MUSICAL RECORD.

[April I, 1871

solo, "And the Word was made flesh," we reach the final fugue,
" And we beheld his glory," in which a not very interesting subject
is well treated. On the whole the work shows more musicianly
study and technical acquirements than inventive power ; its great
want is individuality of style and unity of conception.

Deeply-Flowing Ebro (Fluthenreicher Ebro), Song for Voice and
Piano, by Robert Schumann (London: Augener & Co.). To
those who have heard Herr Stockhausen sing this most exquisite
song, any commendation of it on our part will be superfluous ; but
for the sake of such readers as may be unacquainted with it, we
may say it is one of the very finest of its author's many beautiful
" Lieder." The melody is exceedingly charming, though very
simple, and set off with a most original accompaniment. It is pub-
lished both in D (the original key) and in G, so as to be accessible
by any voice. In addition to the original German words an Eng-
lish version is added. No admirer of Schumann ought to be igno-
rant of this most characteristic example of his genius.

Hymns, Tunes, Chants, atid Kyrie Eleisoti, composed by Arthur
G. Leigh (London: Novello, Ewer, & Co.), are well written and
pleasing ; but it is almost impossible to do anything really new in
either the hymn-tune or the chant, and we find nothing in these to
distinguish them from others of the same class.

Tarantella for Piano, by Horton C. Allison (London : Dun-
can Davison & Co.), is a capital piece, and one that we are glad to
be able to commend unreservedly. The subjects are well chosen,
and admirably treated ; and we feel sure that the composition has
only to be known to be appreciated.

The Streamlet, Sketch for Pianoforte, by T. Albion Alderson
(London : Ashdown & Parry), is a good finger-exercise, and nothing
more.

Hilda, Serenade for the Pianoforte, by T. Albion Alderson
(London : Ashdown & Parry), is written in the conventional " draw-
ing-room " style, and has the merit of not being too long.

Valse du Printemps, par W. Wasserzug (London : Augener
& Co.), if not particularly original, is spirited and brilliant, and will
be useful as a teaching piece.

Variations on "Drink to Me Only,''' by Westley Richards,
Op. 2 (London : Lamborn Cock & Co.). The form of variations
so frequently and effectively used by the older masters, has of late
years been almost entirely superseded by the freer "Fantasia."
There is, however, no reason why composers should not still make
use of it ; and Mr. Westley Richards has, we think, shown sound
judgment in the form he has chosen for this piece. His variations
on the old song are more classical in form and style than the larger
part of the new piano music now written ; and, it need hardly be
added, the piece is certainly not the worse on that account. The
harmony is good, and the passage-writing elegant and interesting to
the player. We can honestly recommend the piece to teachers. We
would suggest to the author that it seems to us there is one more
bar wanting at the end of the finale. Or had Mr. Richards the first
movement of Beethoven's symphony in B flat in his head, where the
same thing occurs ?

Classical Gems for the Pianoforte, by Dr. Arthur S. Holloway,
Nos. 2 and 3 (London : J. Bath), are two easy and very good arrange-
ments for the piano of the "Gloria" from Mozart's 12th Mass, and
' ' I know that my Redeemer liveth. " Both are very well done, and
being, moreover, not at all difficult, will be found useful for young
pupils.

Ave Maria, Solo Motett for Soprano or Tenor, by Dr. A. S.
Holloway (London : T. Richardson & Son), is an elegant solo, well
harmonised, and easy to sing. From a few indications in the
accompaniment, it appears to have been originally written with
orchestra.

MUSIC RECEIVED FOR REVIEW.

Bunnctt, E, "Te Deum Laudamus," in Chant form. (Pardon &
Son.)

Bunnctt, E. " An Evening Service, " in f. (Novello, Ewer, &
Co.)

Bunnctt, E. ' ' Ave Maria " for six voices, with Harmonium or
Piano. (Novello, Ewer, & Co.)

Grundy, C. B. "Bless the Lord, O my Soul." Anthem for four
voices. (Novello, Ewer, & Co.)

Grundy, C. B. "Two Preludial Pieces for the Organ." (Liver-
pool : Hime & Son.)

Monk, James J. "Song to Music." (Weippert & Co.)

Old, John. "The War Horse." Trumpet March for the Piano.
Ashdown & Parry.)

Phillips, A. "Song of the Martyr." (Alf. Phillips.)

Short, J. " St, Patrick's Day," Patriotic Song. (Birmingham :
J. Short.)

€onttvte, $cu

CRYSTAL PALACE SATURDAY CONCERTS.
The special feature of the concert on the 25th of February was
the fine performance, by the band, of Schumann's first symphony in
B flat, Op. 38. On this most interesting and suggestive work we
would gladly, did space admit, write a whole column ; possibly on
some future occasion we may notice it in detail. Composed in the
year 1841, it appears to have been its author's first essay at writing
for the orchestra ; and, though less representative of his peculiar
style than his later symphonies in C and E flat, it contains a more
flowing vein of melody, and appeals more to the sympathies of a
mixed audience, than either of those works. The influence of
Schubert's great symphony in C, with which Schumann had recently
made acquaintance, and of which he has written in such glowing
terms, is distinctly apparent in the instrumentation, and particularly
in the rhythm and swing of the first allegro ; while traces of Beeth-
oven are also fo be found here and there in the work ; and yet,
with all this, the symphony bears the impress of the mind of an
original thinker ; and the larghetto especially is as " Schumannish"
as anything that ever fell from his pen. The performance, with the
exception of one little slip in the pianissimo passage for trombones
at the end of the slow movement, was as perfect as it could well
be. The overtures were Cherubini's Hdtellcrie Portugaise, and
Berlioz's Benvenuto Cellini. Mr. Henry Holmes gave a very good
reading of Spohr's violin concerto in E minor (No. 15) — not one of
its author's best works. The vocalists were Mdlle. Leon-Duval
and Mr. Santley.

On the 4th of March the opening piece was Auber's light and
sparkling overture to Zanetta, and the finale, Mendelssohn's Wed-
ding March ; the remainder of the concert was taken up by a
very good performance of Mr. J. F. Barnett's Paradise and the
Peri; as we spoke of the work on its recent performance at St.
James's Hall, it is needless to do more than repeat our favourable
opinion of it as a very pleasing and thoroughly musicianly com-
position. The soloists were Mesdames Vanzini and Patey, and
Messrs, Vernon Rigby and Santley ; the choruses were sung by
the Crystal Palace choir, and the composer conducted his own
work. As might be expected from its melodious character, it was
thoroughly well received.

The concert of the nth was signalised by the first appearance
at the Crystal Palace this season of Herr Joachim, who was
announced to play his own Hungarian Concerto, but, owing to
some mishap in the non-arrival of the orchestral parts, substituted
Beethoven's immortal concerto, which, it is almost needless to say,
he. played as no one else can. As most of our readers know,
eulogy is superfluous in speaking of Herr Joachim's performances ;
all we can do is to record our conviction that he is unapproached
by any living player on the violin, and that at every fresh perform-
ance he seems, if possible, to surpass himself. The symphony was
Haydn's in E flat (commonly known as No. 10 of the Twelve
Grand), a work distinguished among its author's numerous
symphonies by the lovely slow movement in G. The overtures were
Schubert's concert overture in D, one of the unpublished works,
for the hearing of which we are indebted to the enterprise of the
directors of these concerts, and Rossini's Gatza Ladra. Schubert's
lovely and delicately-scored overture can hardly rank among his
greater productions, but it is as melodious and pleasing as anything
he has written. Some part of it was afterwards used by him in
his overture to Die Zauberharfe, commonly called the overture to
Rosamunde. The vocalists were Mdme. Cora de Wilherst and
Mdlle. Madigan, the latter of whom made a successful debut. Of
the former we have spoken favourably on a previous occasion, and
her singing confirmed the good opinion formed at her first appear-
ance.

On the 18th, one of the first living German musicians — Dr.
Ferdinand Hiller — appeared in the triple capacity of composer,
conductor, and pianist. A pupil of Hummel, and a friend of
Mendelssohn, Dr. Hiller enjoys a European reputation ; and the
directors of these concerts paid him a graceful compliment in
inviting him to conduct the performance of his own symphony in
E minor, entitled, " Es muss doch Friihling Werden." This work,
which was played at Sydenham last year, and also by the late
Musical Society of London, to which it is dedicated, displays
complete mastery of form and development, and great skill in
orchestration, though with a slight tendency to excessive use of
the brass instruments ; but the subjects lack the individuality of
character which would entitle the whole to be considered an effort
of genius. It was played to perfection,- every member of the
orchestra evidently doing his best in honour of the distinguished
writer. Dr. Hiller also played Mozart's concerto in D, No. 20 —
known as the " Cwonation Concerto "—with a perfection of finish,

April I, 1871.]

THE MONTHLY MUSICAL RECORD.

and artistic feeling, that could not have been surpassed ; his re-
ception after each movement, and at the close of the whole work,
was most enthusiastic. The programme also comprised Cherubini's
overture to Faniska, and Beethoven's Leonora, No. 2. The
vocalists were Mdme. Viardol-Garcia and Signor Piccioli.

On the 25th a performance of Mendelssohn's music to Athalie was
given, of which we cannot spare room to speak now.

MONDAY POPULAR CONCERTS.

During the past month these concerts have been distinguished by
their usual excellence, both as regards programmes and performers.
A brief record of what has been done will therefore be all that is
needed.

On Monday, Feb. 27th, the programme included Schubert's
quartett in D minor, Mozart's lovely Divertimento for violin, viola,
and violoncello, Beethoven's variations (Op. 35) on a theme from
the "Eroica" symphony, and the same composer's sonata in G
(Op. 30, No. 3), for piano and violin. Mdme. Schumann was the
pianist, and Herr Joachim the first violin, the vocalist being Mr.
Arthur Byron.

On the following Monday, March 6th, the pianist was Mr.
Franklin Taylor, a performer too seldom heard in public, as he is
undoubtedly one of the very best of the rising generation of players.
He chose for his solo Beethoven's admirable sonata " Les Adieux,
L' Absence, et Le Retour," one of the very few compositions in
which the illustrious author has himself given the key to his inten-
tions. In this trying and difficult work, as well as in Schubert's
poetical and imaginative trio in B flat, in which he had to undergo
the formidable ordeal of playing with such artists as Herr Joachim
and Signor Piatti, Mr. Taylor proved himself, not for the first
time, capable of satisfying the requirements even of an exacting
"Monday Popular" audience. Both in mechanical accuracy, and
true musical feeling, his performance was all that could be
desired. A very fine performance of Beethoven's well-known and
ever-welcome septett by Messrs. Joachim, Strauss, Piatti, Reynolds,
Lazarus, Hutchins, and Paquis concluded the concert. Mr.
Cummings was the vocalist.

On March 15th, the instrumental works were Mozart's quintett
in C, for strings, and Haydn's quartett in E flat (Op. 64), both led
by Herr Joachim, and Beethoven's great "Waldstein" sonata
(Op. 53), played by Mdme. Schumann, in her own grand style. The
vocalist was Mr. Santley.

On the 20th of March, Mdlle. Brandis, a young lady pianist, who
has attracted much attention on the Continent by her playing, made
her first appearance in this country. She selected for her solo,
instead of one of the sonatas of the great masters, three short pieces
— Scarlatti's Presto in A, Schumann's Arabeske, and Weber's so-
called " Moto Continuo " from his sonata in C, and also joined Herr
Joachim in Beethoven's c minor sonata for piano and violin.
Though so young, Mdlle. Brandis possesses a remarkably fine
touch, and great rapidity of execution. Her phrasing and accent
are also excellent ; but we must defer a final judgment as to her
powers as an intellectual exponent of the highest class of music, till
further opportunities of hearing her have been afforded. She was
most warmly received, and being recalled after her solos, gave as an
encore the third number of the first book of Mendelssohn's Lieder.
The remaining instrumental pieces were Mozart's Divertimento in d
for string quartett and two horns, and Mendelssohn's Andante and
Fugue from Op. 81. Signor Piatti being ill, his place was ably
filled by Signor Pezze. The vocalist was Mdme. Joachim, who
made her first appearance here, and whose fine voice and admirable
style were displayed to great advantage in the air " Erbarme dich,"
from Bach's Matthiius-Passion (the violin obligato being played to
perfection by her husband), and in songs by Schubert and Men-
delssohn. Mr. Zerbini conducted.

PHILHARMONIC SOCIETY.
The first concert of the fifty-ninth season of this society took place
on the 8th ult., at St. James's Hall, and presented several note-
worthy features. Foremost among these must be named the per-
formance of several works of M. Gounod, under his own direction.
These were his early symphony in D, a pleasing if not a great work ;
anew sacred song, "There is a green hill," finely sung by Mr.
Santley; a brilliant and charmingly scored saltarello, in A minor,
for the orchestra ; and a scena from La Peine de Saba, sung by Miss
Edith Wynne. In a monthly paper detailed criticism is unfortu-
nately impossible, owing to the demands on 6ur space ; we must,
therefore, content ourselves with a bare record of facts. The other
chief pieces of the first concert were Beethoven's immortal c minor
symphony, inserted by the desire of a lady at Pesth, who has pre-
sented a bust of the great composer to the society ; Weber's overture
to The Rider of the Spirits; and Mendelss.ohn's violin concerto,

superbly played by Herr Joachim. Excepting M. Gounod's pieces,
the whole concert was conducted by Mr. D. G. Cusins.

At the second concert, on the 22nd, the symphonies were Men-
delssohn's "Reformation," and Mozart's "Jupiter." The former
work, as most of our readers will know, though an early composition
of its gifted author's, was, like many others, kept back by him from
publication, and has only within the last four years been heard for
the first time in this country. If we compare it with the well-known
"Scotch" and "Italian" symphonies, we may, perhaps, say that
it occupies a similar position with respect to them that St. Paul
does to Elijah. As in the former oratorio, so in this work the in-
fluence of Bach on Mendelssohn's mind is distinctly to be traced,
especially in the elaborate counterpoint in the finale, which is con-
structed on Luther's chorale ' ' Ein feste Burg.' ' The charming alle-
gretto was (as is almost invariably the case) encored. Mozart's
symphony is so well known that it is needless to say more about it
than that, in common with the rest of the programme, it was
capitally played. The overtures were Dr. Bennett's graceful
"Wood Nymphs," and Weber's " Oberon." The pianist was
Madame Schumann, who chose a work especially suited to her
grand style— Beethoven's concerto in c minor. It is almost super-
fluous to say that her performance was characterised by her usual
mechanical perfection, and depth of expression. The vocalists were
Madame Sherrington (who replaced Madame Parepa-Rosa, the
latter being absent from indisposition) and Mons. Jules Lefort.

SACRED HARMONIC SOCIETY.
Mendelssohn's St. Paul was performed by this society on the
3rd of February. The greater popularity of the same composer's
later oratorio, Elijah, is easily to be accounted for by the more in-
teresting and dramatic nature of its subject ; but in musical interest
the former work is at least equal to its successor. The influence of
Bach is clearly discernible, especially in the recitatives and in the
treatment of the chorales ; and is, perhaps, most noticeable of all
in the chorus " But our God abideth in Heaven," in which the old
chorale " Wir glauben all' in einem Gott " is introduced, just as we
meet the old church melodies in the grand old Leipzig cantor's
church cantatas. There is a curious reminiscence, too, of Handel,
which we do not remember ever to have seen noticed, in the grand
chorus " O great is the depth." The opening bars are singularly
like the commencement of the chorus " Hear us, O Lord," in Judas,
while the subject of the fugue ' ' Sing his glory for evermore " re-
sembles the phrase in Handel's chorus on the words " Resolved on
conquest.'' Of course, the coincidence is accidental, and does not
in any way detract from the merit of Mendelssohn, but it is singular
enough to be worth pointing out. The performance of the oratorio
on this occasion was marked by the usual vigour and power which
distinguish this society's concerts. The principal vocalists were
Mesdames Sherrington and Patey, Messrs. Vernon Rigby, Santley,
C. Henry, and Smythson. Madame Patey was encored in the
lovely song " But the Lord is mindful of his own," and Mr. Rigby
obtained the same honour for "Be thou faithful," in which air the
important violoncello obligato was admirably played by Mr. Edward .
Howell. Sir Michael Costa conducted as usual.

ORATORIO CONCERTS.
On Wednesday, March 1st, an admirable performance was given
of Mendelssohn's Elijah. There is no need to say more respect-
ing so familiar a work, than that it is but seldom that the
grand choruses with which it abounds are heard so well done as on
this occasion. A moderate-sized choir, such as Mr. Barnby's, is far
more suited than a more unwieldy one for the execution of music
requiring delicacy and finish, and their performance left nothing to
be desired. The principal vocalists were Mesdames Rudersdorff and
Patey, and Messrs. Sims Reeves and Santley, all of whom are too
well known to require further mention.

The third concert of the series, on the 15th, presented several
features of special interest. It began with Hiller's cantata ' ' Nala and
Damayanti," which was composed for last year's Birmingham festi-
val, and was now given for the first time in London. It is a work of
great talent rather than of genius, and was very well performed under
the direction of the composer. The solo parts were taken by Miss
Edith Wynne, Miss E. Spiller, Messrs. Cummings and Santley.
To this was to have succeeded a new overture by Mr. Barnby ; but
the work was not completed, and in place of it Gounod's new song,
"There is a Green Hill " (produced at the first Philharmonic Concert),
was substituted. As at the previous performance, it was sung by
Mr. Santley. Two new compositions by M. Gounod (who con-
ducted all his own music) followed. These were an " O Salutaris"
for four voices and orchestra, and a " De Profundis," a more exten-
sive work in four movements. M. Gounod's sacred music may bo
described as a mixture of the old ecclesiastical style with, that of his

THE MONTHLY MUSICAL RECORD.

[April i, 1 87 1.

Faust. Handel's Chandos Anthem, " Let God Arise," with addi-
tional accompaniments by Mr. Silas, conducted by Mr. Barnby,
formed an effective close to this very interesting concert.

Mr. Henry Leslie's second concert for this season (on the 23rd of
February) deserves more lengthened notice than we. can spare room
to give it. It was announced as an " Historical concert," and in-
cluded specimens of the works of Tallis, Palestrina, Morley, Caris-
simi, Wilbye, Stradella, A. Scarlatti, Purcell, Bach, Handel, and
Gliick, besides piano solos by Frescobaldi, Lulli, D. Scarlatti, and
Bach, played by Herr Pauer, and organ solos by the Masters Le
Jeune. The great piece of the evening was Bach's wonderful motett
for eight parts, "The Spirit also helpeth us" — a composition the
difficulty of which is only surpassed by its beauty, and which was
splendidly sung by the choir. At the third concert (March 9th)
the programme comprised, among other works, Mendelssohn's
" Hear my Prayer," and "Judge me, O God," Wesley's motett " In
Exitu Israel," Schubert's 23rd Psalm for female voices, and'a selec-
tion from Gounod's 2nd Mass for male voices.

Mr. Henry Holmes has been successfully continuing his ' ' Musical
Evenings " at St. George's Hall. The third, given on the 2nd of
March, included Beethoven's great quartett in B flat, Op. 130 ; Mr.
Walter Macfarren's sonata for piano and violin, of which we spoke
recently, well played by Mr. Holmes and the composer, and Men-
delssohn's quintett in A, Op. 18. The programme of the fourth
evening (March 16th) presented Schumann's quartett in F, Op.
41, No. 2 ; Beethoven's trio in B flat, Op. 97 (pianist, Mr. W. 6.
Cusins) ; and Mozart's quintett in G minor. The last concert of
this most admirable series was announced for the 27th (after our
going to press), and was to comprise Mendelssohn's quartett in E
flat, Op. 12 ; Schumann's second trio, Op. 80, with Miss Agnes
Zimmermann at the piano, and Beethoven's great quintett in c. We
cannot conclude our notice of these musical evenings without ex-
pressing our opinion of the real service to art which Mr. Holmes
has rendered in giving them, and our hope that he may be en-
couraged to continue them next season.

Mr. Ridley Prentice has concluded his series of concerts at
Brixton, the last having been [given on the 14th of March. The
programme included Spohr's popular and charming quartett in G
minor, Op. 4 ; Schubert's fantasia-sonata in G, Op. 78, extremely
well played by the concert-giver ; violoncello solos by Signor Piatti ;
and Mr. E. Prout's piano quintett in G, Op. 3 — this last being the
third important work by an English composer brought forward in
this series ; it was very well played, and most favourably received.
The vocalist was Miss Blanche Cole. Mr. Prentice has also con-
tinued his concerts at the Eyre Arms. The second of these (March
9th) brought forward Bennett's trio in A, Woelfl's " Ne Plus
Ultra " sonata, and Beethoven's sonata in G, Op. 30, No. 3. Of
the third (and last) concert on the 30th, which contained some
features of special interest, we shall speak in our next issue.

Dr. Ferdinand Hilier has given a series of Piano Recitals, to
which we can only allude. His programmes have been entirely
selected from his own works. Of his merits as a composer we have
spoken elsewhere ; we will only say now that his performances
were characterised by an artistic style, and a perfect mastery of
mechanical difficulty, that place him in the first rank of living
players.

The first of a series of three Chamber Concerts of modern music
took place at the Hanover Square Rooms on the 21st of March.
The very interesting programme comprised a trio in B flat minor
(Op. 5), by Volkmann, not without points of interest, but of a
most inordinate length — its three movements occupying thirty-five
minutes in performance (!) ; Brahms' highly original and interest-
ing, but very diffuse, piano quartett in G minor, Op. 25 ; and
Beethoven's own arrangement of his piano trio in c minor as a
string quintett. The pianist was Herr Coenen, who especially
distinguished himself in the very difficult piano part of Brahms'
quartett. The strings were held by Messrs. Wiener, Jung, Zerbini,
Stehling, and Daubert ; the vocalist was Miss Julia Elton.

iftusirai f^otesu

The new season of the Royal Italian Opera, Covent Garden,
under the management of Mr. Gye, commenced on the 28th ult.,
with a performance of Lucia di Lammermoor, Mdlle. Sessi enacting
the part of the heroine.

Mr. Mapleson announces the opening of Her Majesty's Opera
on the 15th inst.

The inauguration of the New Albert Hall, at Kensington Gore,
took place on the 29th ult. An account will be given in our next
number.

The chief novelties at the Opera Buffa during the past month

have been Rossini's Ceuerentola, Benedict's one-act operetta Un.
Anno ed un Giorno, conducted by the composer, and Petrella's Le
Prccauziotii.

A performance of Bach's Passion according to Matthew is
announced to take place in Westminster Abbey on the 6th inst.

Professor Glover's cantata, "St. Patrick's Day," was performed
for the first time in England at St. George's Hall, on the 15th oi last
month, and was very favourably received.

A NEW symphony, entitled "ImWalde," by Herr Joachim Raff, one
of the most prolific of modern German musicians, has just been
published at Leipzig.

The numerous admirers of Schubert will learn with pleasure that
several works of his, hitherto existing only in manuscript, have just
been published at Vienna. Among them are the full score of the
" Deutsche Messe," a grand sonata for piano duet in C minor, and
a sonata in A minor for piano and " arpeggione " or violin.

A GRAND Tonic Sol-fa Festival was held at the Crystal Palace
with great success on the 21st ult., in honour of the wedding of
Princess Louise.

Herr Carl Reinecke, the well-known composer and pianist
from Leipzig, is expected in London early in the present month.
He will bring with him some new compositions — among them the
overture he has written for the celebration of peace.

The Queen has been graciously pleased to confer the honour of
knighthood on Dr. Sterndale Bennett, Dr. Elvey, and Mr. Julius
Benedict.

TO CORRESPONDENTS.
R. A. Klitz. — Received just too late for our last number, and
would be too much out of date now.

"THE MONTHLY MUSICAL RECORD."

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May I, 1871.]

THE MONTHLY MUSICAL RECORD.

Cfw Ufatttfjljr literal gUmrtr.

MAY 1, 1871.

MUSICAL EDUCATION.

The apathy of the Government in the matter of musical
education, however greatly it may be deplored, can
hardly be much wondered at, when the surprising in-
difference of the public on the same subject is con-
sidered. Let us not be misunderstood in saying this.
In one sense the English nation is preeminently musi-
cal. There is probably no country in the world where
so much music is performed in the course of a year, or
where so much money is spent on music, in proportion
to the number of the population. Nevertheless, we must
express our firm conviction that, in the highest and best
sense of the term, we are not a musical people. We
have a zeal, but not according to knowledge. And in
speaking of the indifference of the public in the matter of
musical education, we refer not so much to its quantity as
to its quality. There is probably hardly a country town
of any size beyond a mere hamlet, which does not con-
tain at least one so-called " Professor of Music ; " while
in most places there are plenty among whom to choose.
Yet we believe that, in the majority of cases, people ex-
ercise far less care in the selection of a teacher of music
for their children than they do in the choice of a butcher
or a baker. This arises frequently from the fact that,
knowing nothing of music themselves, they are unable to
discriminate between good and bad teaching; but a more
frequent cause is, we think, the very prevalent but most
erroneous idea that any teacher will do to begin with, and
if when the daughters grow to be fifteen or sixteen years
of age they have a few "finishing lessons," they will be all
right. One might just as well turn children loose in the
street to pick up their education, and trust to six months at
a finishing school to make them useful members of society.
Fortunately the practical evil in the one case is not so great
as in the other ; but the injury done to the artistic sense
by imperfect early training can hardly be over-estimated.
We do not speak against cheap teachers merely as such.
We know that there are some who through force of cir-
cumstances have never been fortunate enough to rise to
the position, and command the terms, to which their
abilities would fairly entitle them. Still, as a general rule
it may safely be said in music, as in other things, that the
value of an article may be estimated by its market price ;
and when we find teachers offering lessons at an absurdly
cheap rate — we heard some time since of one who gave an
hour daily for a shilling a week ! — we are forcibly re-
minded of a notice we once saw at a dirty-looking pastry-
cook's in a back street— "THE LARGEST PENNY
TARTS IN LONDON."

Another indication of the want of real musical taste in
our public is to be found in the class of music which
meets with most favour. Go into any of our best London
music-shops, and ask to be shown some of the " most
popular " vocal and instrumental pieces they have, and
what will you find ? In songs, either namby-pamby bal-
lads, in which words and music are equally imbecile, or
(still worse) the vulgar music-hall effusions known as
"comic songs." And in piano-music, pieces written solely
for the purpose of display, often without so much as the
ghost of a musical idea in them, which are intended to
enable imperfectly taught players to exhibit their super-
ficial acquirements to the best advantage. Of course
there are pleasing exceptions ; but few will dispute the
general correctness of the statement.

As might naturally be expected, this imperfect musical
education reacts prejudicially on the public itself. How
many of our average concert-goers are competent to form
an opinion for themselves on any new work ? They judge
by names ; and if they see a piece by a well-known com-
poser, Mozart or Beethoven for instance, in the pro-
gramme, they know it is the correct thing to admire it,
and profess admiration accordingly, even if it should be in
reality weak, and utterly unworthy of its author. If, how-
ever, the name of the composer should be unknown, the
audience is at sea directly. They will probably applaud
the music — it is the fashion now-a-days to applaud every-
thing— but, as to forming an opinion, they will most likely
wait to " see what the papers say about it." To take an
illustration : if Schubert's Mass in G were performed in
London, it would be doubtless admired as it deserves to
be ; for Schubert's name is well known here as that of a
great genius. But suppose the same work were announced
as " Fiilirer's Mass in G " (the title under which it was
published), how many would go to hear it ? and of those
who went, how many would really know whether the
music were fine or not? The plain truth is that our public
is not yet sufficiently educated in music to form a judg-
ment for itself. As well expect a child fresh from the
study of " Old Mother Hubbard" to criticise Macaulay's
Essays, or Tennyson's " In Memoriam."

But, it will be asked, for what purpose is all this Jere-
miad over the state of public taste, unless some remedy
can be proposed ? We believe that there is a remedy, and
that in time there will be an improvement. Our hope is
in the recognition, though tardy, of music as a branch of
national education. We say nothing now of the moral
aspects of the question. The elevating influence of music
has been ably treated of by others, and our business now
is merely with its effect in raising the standard of public
taste. In Germany, a man who is incompetent to form an
opinion for himself on musical matters is rather the ex-
ception than the rule. And why ? Simply because every
child there is instructed in music at the national schools.
Thus, at the age when the mind is most susceptible of im-
pression, a love of the art for its own sake is created ; and
the result is what we see — a thoroughly musical nation.
And we believe that in this country the same effects would
follow were the same course pursued. We know of a case
in point. A London schoolmaster, who was also an enthu-
siastic musician, resolved, some eighteen years ago, to
form a singing-class in his school. By patience and per-
severance he succeeded in teaching a chorus of about
thirty boys to sing from notes, until they were qualified to
perform the works of the great masters. Those boys are
now grown up ; many of them are the fathers of families ;
and there is scarcely one of them who is not a good singer,
and to whom music is not his greatest enjoyment. Let
music, then, be only recognised as an essential branch of
national education, and we believe that the next generation
will no longer be open to the reproach of being either in-
different to, or ignorant of the art.

FRANZ SCHUBERT'S MASSES.

BY EBENEZER PROUT, B.A.

(Continued from page 43.)

4. THE MASS IN C, OP. 48.

If the Opus-number of a composer's works gave us any
criterion for determining the period of their production,
one would have to assign to the present mass a date
anterior to that in B flat, last under notice. And the
same would probably be the case, did we judge of the

THE MONTHLY MUSICAL RECORD.

[May I, 1871.

work before us from internal evidence merely. Kreissle
von Hellborn, however, assigns it to the year 1816 — the
year after the composition of the second and third
masses ; and, in default of evidence to the contrary, we
must accept his date as correct. Still it is difficult to
understand the retrograde movement in our author's
power of church composition, which must be admitted
on this supposition ; for the mass in c is unquestionably
the least interesting, and the least valuable from a musical
point of view, of the whole series. Indeed, from the
evident imitation of the Haydn-Mozart style throughout
the work, one would have been inclined to consider it
Schubert's earliest attempt at mass-writing. There is yet
one other reason to doubt the correctness of the date
given above — a slight one, it is true, and yet worthy of
some notice. It is that in the score of this mass we find
no part for the violas. Now the same peculiarity is met
with in the scores of the " Tantum ergo" (Op. 45), the
first offertory, " Totus in corde langueo " (Op. 46), and
the "Salve regina" (Op. 47). Kreissle von Hellborn
assigns the two last-named of these works to the year
1 81 5 ; and it is at least probable that this similarity may
be accounted for by their being composed about the
same time, perhaps for an orchestra in which there were
no violas.

But it is time to pass from the question of the date, to
speak of the mass itself. It is written for the usual voice
parts, the orchestra consisting of first and second violins,
basses, two oboes {or clarinets, as in the mass in B flat),
two trumpets, drums, and organ. The " Kyrie " (c major,
B, Andante con moto, 39 bars) opens with a theme of
great simplicity for the violins and basses : —

This phrase is then immediately repeated by the solo
quartett ; after which one bar of symphony for strings
and organ leads to a tutti forte, when the full chorus and
the wind instruments enter for the first time. The pro-
gression of chords for the voices is not new ; but the
accompaniment for the violins gives life and a certain
degree of interest to it. One bar is quoted, as the figure
forms a principal feature of the whole movement : —

The " Christe," which begins in G as a quartett, has a
melodious but well-worn subject. When the chorus
enters, we meet with a small piece of imitation for the
voices, accompanied by similar violin passages to the one
last quoted. The imitation is not developed at any
length/and after only six bars of chorus a full close in G
leads back to the return of the " Kyrie." The two bars
of symphony following the choral cadence singularly

resemble, in their descending semiquaver scales for the
violins in thirds, with a holding note for the first oboe
above, the return to the first subject in Haydn's " The
marvellous work." The rest of this " Kyrie " contains no-
thing but what has been already, met with.

The "Gloria" (c major, E, Allegro vivace, 137 bars),
like that in the mass in G, is in one movement, with no
change of tempo throughout. It is much superior to the
" Kyrie," and, without being very original, is bold, vigor-
ous, and thoroughly pleasing music. After a powerful
forte of eight bars, accompanied by the full orchestra,
the " Et in terra pax " is given to the solo quartett with a
melodious theme, accompanied by moving quavers for
the violins, and holding notes piano for the oboes above
the voices, with excellent effect. The unison passage for
the chorus which follows, on the words " Laudamus te," is
of great breadth, and deserves quotation, especially as it is
almost the solitary instance in Schubert's choral works of
an effect so often met with in modern compositions (e. g.
in those of Mendelssohn) — the choral unison, supported by
full harmony in the orchestra : —

^2Z

:CT

te, &c.

iUL.

PS^§

In the above extract, the oboes play with the soprano
voices, and the trumpets and drums fill up the harmony,
and mark the rhythm. After a half-close on E (the domi-
nant of A minor) two bars of interlude lead us to a most
graceful and melodious, if not strikingly new, quartett in r,
to the words " Gratias agimus." To this quartett no in-
considerable portion of the whole movement is devoted.
The chorus re-enters on the words " Domine Deus," in
massive chords, with a forcible quaver accompaniment for
the violins in octaves. At the close of this passage,
on the words " Fili unigenite " (in C major) the orchestral
figure is continued alone, modulating at the sixth bar of
the symphony into E minor, in which key the solo voices
are re-introduced, the soprano continuing the next words
of the hymn, while the other parts accompany with long-
sustained cries of " Miserere nobis." And here Schubert's
incorrigible carelessness about his text shows itself again.
Two entire sentences of the "Gloria" are unceremoniously
omitted. An entirely new figure for the violins is now in-
troduced to accompany the holding notes of the voices ;
the second violins imitating the first at a half-bar's dis-
tance. The modulations here are also very effective.

May i, 1871.]

THE MONTHLY MUSICAL RECORD.

From E minor the music goes to F sharp minor, thence
suddenly back to G, and so to A minor. Unfortunately
the passage is too long to quote. At the close of the
quartett, the chorus enters in the most unexpected manner,
utters one loud cry of " Miserere !" and is again silent, the
orchestra immediately subsiding to a piano. The effect
of this in performance would be very striking. Eight bars
of symphony for the strings lead back to the opening sub-
ject of the movement, which, as usual, is repeated at the
words " Quoniam tu solus sanctus." The unison passage
quoted above is met with again in a slightly altered form,
and now occurs twice — the second time piano, as an echo
of the first. The " Cum sancto " is hurried through in the
same hasty manner as in the mass in G, and the move-
ment ends with a few broad chords on the word "Amen I"
The "Credo" commences with a spirited, though some-
what common-place, chorus (Allegro, c major, f, 61 bars).
The first words are sung by the unaccompanied chorus in
unison ; and at the sixth bar what may be called the chief
subject of the movement is announced by the voices in
harmony, with a vigorous accompaniment for the violins :

Sop.

fW^^

^^#^Si^

Pa - trem om-ni -po - ten

I S N S S

tern

fac - torem coe - li et

It will be seen that there is no particular interest or
novelty in such a commencement as this, and thefrest of
the movement is very similar in character to the extract
just quoted. After four bars more for the chorus, a short
symphony follows for strings and oboes, which may be
termed a sort of ritornello, as it recurs in various keys, at
the close of each phrase through the piece. At " in unum
Dominum " a new phrase, not much more novel or strik-
ing than the first, is allotted to the solo quartett ; the short
symphony just alluded to is given by the orchestra again,
now closing in A minor. In this key the first subject is

repeated by the chorus to the words " Et ex Patre natum ; "
then, after the symphony once more, the second subject
(for the solo quartett) comes again in E minor, " Deum
verum de Deo vero ;'' and at " Qui propter nos homines "
we meet with the first theme for the last time, in the key
of F ; after a full cadence in which key, follows the " Et
incarnatus " (Adagio molto, D minor, g, 2 1 bars). The
setting of these words, though not equal to some of the
slow movements to be found in our author's masses, is
decidedly superior to the rest of this " Credo." Opening
as a solo quartett, in which the voices enter successively
at a bar's distance, with a moving accompaniment for the
first violins, and holding notes for the oboes above the
voices, the music first goes into the key of A minor, and
then, on the words " Et homo factus est," with a sudden
forte, modulates most charmingly into B flat major. The
chorus then enters piano — " Crucifixus etiam pro nobis,"
with semiquaver passages for the violins ; and after reach-
ing the key of E flat at " sub Pontio Pilato," instead of com-
ing back to C minor, as one is led to expect from what
has preceded, suddenly goes into A flat at the words "sepul-
tus est," with most beautiful effect : —

Two bars later, a half-close on 6 leads into the " Et
resurrexit" (Tempo imo, C major, f, 88 bars). Though
constructed on entirely different subjects from the open-
ing chorus of the " Credo," this movement much resem-
bles it in general effect. There is, however, more bold-
ness in the modulations, and more variety in the instru-
mental parts. Still, there is but little in the music that is
really new ; and it may be described as a good piece in
the conventional church style of fifty years ago.

The "Sanctus" (c major, B,j Adagio, 7 bars; Allegro
vivace, 35 bars) is not very happy in its opening, as the
introduction nowhere rises above the common-place.
The theme of the " Osanna," however, first given out as a
soprano solo, and afterwards repeated forte by the full

THE MONTHLY MUSICAL RECORD.

[May I, 1871.

chorus, is extremely melodious, though rather light, for
sacred music : —

-I 1-

1 1 1 ' 1 T "J

'=?>

O - san - na in ex
Bassi. P

eel

O - san - na in

w^===m^

84 bars), and in the somewhat unusual form, for this por-
tion of the mass, of a full chorus without solo parts. It is
a movement of great originality and beauty, and the only
fault to be found with it is that it is so immeasurably
superior to all the rest of the mass, that it would sound
out of place there, if performed. After four bars of sym-
phony, the chorus begins/<?rte —

A very animated coda, in which the violins are particu-
larly busy and prominent, brings the " Osanna " to a
close.

As has been already mentioned in the notice of the
mass in F, Schubert set the " Benedictus " of the present
mass twice. The earlier of these two settings— the one
belonging originally to the work (f major, f, Andante, 54
bars) — is a graceful and flowing soprano solo, very
simply accompanied (mostly in three-part harmony only)
by the violins, a solo violoncello, and a solo oboe. Though
very elegant and melodious, it is not particularly original.
The quotation of the first eight bars after the opening
symphony will give a sufficient idea of its character : —

.1 li mil «il -•"■»" I ' \ ~W l»

ve - nit in

The second "Benedictus" of the mass under notice was
written in October, 1828 — only a month before the com-
poser's death. It is in the key of a minor (g, moderato,

lJ_IJ l-LU l-LD "ILlLLj l-2Llj ZS-^

(06. 1, 2, col Sop. e Alto.
-#-1 1-

^=g=feE

y. ^> &s ' — &

-fr->-4-

us qui

ve - nit in no - mi-ne

U A J 44 J N*MU -*VS

. ■ _i I : F H im lr^~ l*WLJ*"

i* !

ve - nit in no - mi-ne Do - mi - ni, &c.

A short passage of imitation follows, leading to a half-
close on E, from which a unison passage of quavers for
the orchestra brings us to the lovely " second subject " in
C major. Of this it will be sufficient to quote the voice
parts : —

V^£3*-3

_, — 1*

^±=23=sj~J^T' q^cr— rf ~i — nr-sn — s~i*t~i — j~1 — [

A He

Be - ne
Ten. 1 ^-. ft

u« u i p £ 1 ' > r

is, qui ve-nitin no -mi-ne Do-mi-ni, qui

J I I h* k. I W h. 1 W I -*?

I It It I It IN I
■*—W-*-*—*-W-T-*-

Bass.

I I

f^^^^^Ff^

it 1

r^i — 1 — 1 — :t=r=£-*-\ — r^i "

ve - nit, qui ve - nit in no - mi - ne Do - mi - ni. &c.

1 I — , , Jt 1

This charming theme is then repeated by the orchestra,
the first violins singing the melody an octave higher than

May I, 187 1.]

THE MONTHLY MUSICAL RECORD.

before ; and here a characteristic touch of Schubert's
later style of scoring is met with, in a holding note for
the trumpets, pianissimo, in the middle of the harmony.
It is but a single note — merely a C held in octaves for a
bar and a half — and yet how striking is the effect of that
one note ! It changes the colouring of the whole passage,
and reveals the hand of the master at once. More imi-
tative passages for the voices, with free orchestral ac-
companiment, succeed, leading back at last, most unex-
pectedly, to the first subject — now with new harmony. The
second subject follows, according to rule, in the key of
A major ; and a final symphony, ending with a half-close
in C, leads back to the " Osanna."

Of the "Agnus" (c major, E, Adagio, 18 bars) and
" Dona " (J, Allegro, 89 bars) not much need be said, as
neither has any very remarkable points. The former is
mostly treated as a duett, at first for soprano and tenor,
and afterwards for alto and bass ; the chorus entering
twice at the words "Miserere nobis," but only with a short
and unimportant phrase. The " Dona " is extremely
pretty, but in a very light style — much resembling the
same movement in the mass in B flat. The passages for
the violins accompanying the voices are elegant, but too
light and trivial for church music. Still, if one can forget
the associations, and think merely of the composition as
music, and not as a sacred work, it cannot be said to be
without merit. There is a great deal of what the French call
ilati (the best translation for which, I suppose, would be
" go ") about it ; it is only the inappropriateness of the
music to the situation with which fault could be found.

In conclusion, one may say that the mass in C is, more
than any of its fellows, a reminiscence of the style of the
church composers of the latter part of the last century,
more especially of Haydn and Mozart ; and that, though
never dry, it is less interesting on the whole, and less a
reflection of Schubert's individuality, than the rest of the
series. In a word, excepting in the second " Benedictus,"
it is not the genuine Schubert whom musicians so love
and admire. He is ploughing with another man's heifer.

THE IMPERIAL FAMILY OF AUSTRIA, AND ITS

RELATIONS TO MUSIC AND MUSICIANS.
It must afford every true lover of music, more especially
if he be an Austrian, the greatest gratification to trace the
deep interest with which music has ever been cultivated
by the Imperial family of Austria. How inciting and
animating the example set by the Imperial family was, we
see by the lively interest in music shown by all those
nearly connected with it. From a large number of
eminent names we select only the following : — The Princes
Lichtenstein, Esterhazy, Schwarzenberg, Auersperg, Lob-
kowitz, Lichnowsky, Trautmannsdorff, Kinsky ; The
Counts, Countesses, and Baronesses Czernin, Erdody,
Waldstein, Fries, Apponyi, Zinzendorf, Zichy, Browne,
Deyn, Thun, Brunswick, Gleichenstein, Ertmann, van
Swieten, etc.

We will commence the line of Austrian sovereigns with
Maximilian I. (1459— 15 19), and find art and science
already flourishing under the auspices of this chivalrous
monarch. Among many other artists, we find the cele-
brated organist Paul Hofhaimer installed at the Court,
and honoured by the emperor with a patent of nobility.
The Imperial Library at Vienna contains many of his
compositions.

Charles V. (1500—1558) thoroughly understood and
appreciated music, and had no less than three private
orchestras— one at Vienna, another at Madrid, and a third
which accompanied him on his travels. Burney mentions

his merits warmly with regard to the amelioration and
promotion of sacred music.

Ferdinand I., Maximilian II., and Rudolph II. (1562 —
1612) were all promoters and protectors of music, and the
orchestra of the latter was a particularly well-selected
one. His organist was Charles Luyton, who possessed a
clavichord (the first mention made of any keyed instru-
ment built at Vienna) on which the upper keys, or semi-
tones, were divided into two parts and supplied with
double sets of strings (for instance, C sharp and D flat) ;
the key-board was also movable, by which seven trans-
positions were possible.

We find music developing itself more and more during
the reign of Ferdinand III. (1578 — 1637), who was a great
patron of the arts, and was himself a composer. He not
only sent the organist Joh. Kasp. Kerl, a pupil of Valen-
tini, the celebrated composer and organist at the Imperial
Court, to finish his studies at Rome under Carissimi, and
presented him with a patent of nobility, but also furnished
means for Joh. Jac. Frohberger to go there to perfect
himself under Frescobaldi, and afterwards appointed him
organist to the Court.

Leopold I. (1640 — 1705) was passionately fond of music
and promoted it in every possible manner. He played
the clavichord, and composed several cantatas and sacred
pieces. His decided preference for exclusively Italian
operas must be explained by the fact that German singers
of that time were vastly inferior to the Italians. He
caused a large theatre to be erected, and his marriage in
1666 was celebrated by a grand opera, II Porno d'Oro,
composed for the occasion by Ant. Cesti. The expendi-
ture and magnificence were enormous ; no less than 1,000
persons were occupied on the stage, and the cost amounted
to more than 60,000 florins. Leopold is the founder of the
splendid Court Library, which contains the valuable col-
lection, " Leopoldinische Musik-Bibliothek." His love
for music remained the same unto the last, and it is said
that when he felt death approaching he caused his
orchestra to be assembled in the antechamber, " that he
might hear the sounds so dear to him until the end."

Joseph I. (1678 — 171 1) inherited his father's love for
music. He played the clavichord and several other in-
struments, and took great care to complete his orchestra.
The Italian Opera-house, which was erected during his
reign, was considered one of the finest building; of its
kind, and the brilliant performances which took place in
it far surpassed anything Vienna had before witnessed.

Charles VI. (1685— 1740) was a thorough musician,
and presided at the clavichord when operas or other
musical compositions were performed at Court. His
orchestra cost 200,000 florins, in those times an unheard-
of sum. The first conductor was Joh. Jos. Fux, whose
theoretical work, " Gradus ad Parnassum," written in
Latin and afterwards translated into several other lan-
guages, was published at the emperor's own expense, and
is still mentioned with the greatest respect. Subordinate
to him were Antonio Caldara, the emperor's musical in-
structor, and the composers Carlo Badia, Gius. Porsile,
and Francesco Conti. The principal singer was Vitt. Tesi,
a Florentine, one of the most admired artists of her day.
The poet laureate and Court historians were Apost. Zeno,
Piet. Metastasio, and Silv. Stampiglio. The splendour of
the operas, which took place at the Imperial " Favorit,"
had now reached its zenith of magnificence. The stage
was erected in the garden, and by means of large basins
of artificial water it was possible to represent boating
parties, pontoons, naval engagements, &c. In honour of
the coronation of Charles VI. as King of Bohemia, Fux
composed the opera Costanza e Foriezza, which was
performed at Prague in the open air. Caldara conducted

THE MONTHLY MUSICAL RECORD.

[May i, 1871.

the whole, as the composer himself was ill ; but the em-
peror, determining that he should be present at his opera,
had him conveyed to the spot in a litter from Vienna.
On another occasion Fux had the unprecedented honour
of hearing one of his own compositions accompanied on
the clavichord by the emperor. This opera was written
for the birthday of an archduchess, who took part in the
representation ; and the maestro, enchanted with the per-
fect success of the performance, spontaneously exclaimed,
" What a thousand pities your Majesty did not become a
chapel-master ! " to which the emperor smilingly replied,
" Thanks for your good opinion, but I feel perfectly satis-
fied with my own position in life." It is said that the
great singer Farinelli was incited by the praises bestowed
upon him by the emperor to do more and more to perfect
his style, and render it almost faultless, by adding depth
of feeling to what had before been mere brilliancy of
execution. The Imperial children were well instructed in
music by G. Muffat and G. Ch. Wagenseil, Imperial
chamber composers and pupils of Fux. The most dis-
tinguished was —

Maria Theresa (1717 — 1780). She showed great talents
very early in life, and had so splendid a voice that at the
age of seven years she was able to take part in an opera
composed by Fux and performed in honour of her mother,
and is represented to have remarked laughingly to the
celebrated singer, Faustina Hasse, " I believe I am the
greatest amateur living." In 1735 the princesses appeared
in an opera which was performed in honour of the em-
press's birthday, and Metastasio, who had written the
words, could not say enough in praise of their grace and
cleverness. In 1739 Maria Theresa sang a duet with
Senesino at Florence, so well that the celebrated old
singer shed tears of joyful emotion. From the year 17 12
German plays and operettas had been performed in the
Karnthnerthor Theatre, and Maria Theresa and her
Consort now extended their patronage to the National
Theatre, and caused the Court Theatre to be built near
the Palace in 1741. It was enlarged in 1751, and still
exists. In 1754 Joh. Chr. Gluck was appointed chapel-
master, which post he filled until 1764. Among other
operas composed by him at this time, we will mention
Orfeo e Enrydice, which was produced in 1762 before
the Imperial family. In the same year he composed his
Parnasso Confuso, by command of the emperor, and in
celebration of the marriage of King Joseph. The words
were by Metastasio, and no less than four princesses took
part in it, while the Archduke Joseph accompanied it on
the piano. Also the opera Alceste, by Gluck, of which
Sonnenfels speaks with so much enthusiasm in his letters,
was performed before the emperor in the year 1767. In
the year 1774 Gluck was appointed chamber composer
to the empress. The favourite composer of Maria Theresa
was Fl. Leop. Gassmann, and it was in speaking of his
sacred music that Mozart said to Doles (director of the
" Thomasschule " and a pupil of Bach), when he visited
him at Leipzig, " How I wish you knew all the music of
Gassman we have at Vienna ! When I get home I intend
to study his sacred works thoroughly, and hope to learn
much from them." Mozart's reception at Court during
his first visit at Vienna, 1762, is well known. The interest
of the Imperial family had been aroused to such a degree
by the current tales of Mozart's wonderful talent, that his
father received a command to present his children at
Schonbrunn, even before he had solicited permission to
do so. Expectations, though raised to a high pitch, were
far surpassed. The serious light in which Mozart, in
spite of his youth, treated music, is proved by his saying
one day, when performing at Court, and finding himself
surrounded by gentlemen whom he apparently did not

consider great judges, "Is Herr Wagenseil not here? he
ought to come, for he understands it ;" and on his appear-
ing he said, " I am going to play one of your concertos,
and want you to turn the leaves for me." Nevertheless,
Mozart was a perfect child, merry and simple-minded, and
behaved at Court in the most natural manner, without
betraying the least shyness or timidity. He would jump
into the empress's lap and hug and kiss her, and was on
the most intimate terms with the princesses, especially
Marie Antoinette. One day when he fell down on the
polished floor, to which he was unaccustomed, and the
princess kindly lifted him up, while one of her sisters left
him unaided, he exclaimed, " You are good — I will marry
you !" and, in answer to the empress's question as to why
he would do so, added, " Out of" gratitude, for she helped
me while her sister took no notice of me." In later years
the emperor reminded him of the time when he, a child,
listening to the empress and Wagenseil playing duets,
would ingenuously exclaim " False" or " Bravo," making
no secret as to his opinion of the performance. The
reception Mozart met with on his second visit to Vienna
was no less cordial, although since the death of her
Consort the empress had entirely discontinued even her
private musical meetings. In 1771 Mozart composed the
opera Ascanio in Alba, by command of the empress,
in honour of the marriage of Prince Ferdinand. This
opera, composed in an incredibly short time, was im-
mensely admired. On hearing it, Hasse is said to have
exclaimed, "This youth will cause all others to be for-
gotten."

Francis I. (1708 — 1765), the Consort of Maria Theresa,
was also very musical, and evinced great interest in the
cultivation of art and science. Music was considered a
matter of great moment in the education of the Imperial
children, as is shown by the instruction relative to their
studies drawn up by the empress herself.

Joseph II. (1741 — 1790) took a warm interest in music,
and had a thorough knowledge of it. He was an excellent
singer of the Italian school, played the piano, violoncello,
read both vocal and instrumental music with perfect ease,
and was particularly clever in playing from the score. As
a rule, he had a private concert every afternoon, and
occasionally Archduke Maximilian took part in it. Joseph
also composed several little pieces for his fine bass voice,
but once ventured on a grand air, which was introduced
into a small opera performed on the private stage at
Schonbrunn. It was supposed to be a profound secret,
which, however, everybody knew, including Mozart, who,
when asked his opinion of it by the emperor, replied in
his usual frank and open-hearted manner, " The air is
good enough, but he who made it, infinitely better." The
emperor had been taught in the Italian style ; it was
therefore natural that his taste should incline towards that
school. His non-appreciation of Haydn's music is easily
accounted for by the fact of his knowing very little of it,
and that he should not become better acquainted with it
was the constant care of the first violinist of the Imperial
quartett. It was he who prevented Haydn's symphonies
from being performed before the emperor. How truly,
nevertheless, Haydn was attached to the Imperial family,
is proved by the immortal " Kaiserlied " which he com-
posed for the emperor's birthday (February 12, 1797), as
the best expression of his warm and devoted feelings, and
which afforded comfort and solace to his heavy heart only
a few days before his death (31st May, 1809), when he
played it repeatedly with deep feeling. Mozart was also
warmly attached to Austria and its sovereigns, and it is
well known that, when offered an appointment as royal
conductor at Berlin by King Frederic William II., he
thoughtfully and sadly replied, " And should I leave my

• THE

MONTHLY MUSICAL RECORD.

good emperor?" Jqseph II. was greatly interested in, if
not really connected with, the fate of Mozart's operatic
compositions. He had a great appreciation of Mozart,
and it was with pride the latter could repeat to his father
the compliment paid to him by the emperor (in 1781),
" C'est un talent de"cide\" About this time Mozart was
invited by Joseph to meet and contest with Clementi,
whose reputation was that of an unrivalled pianist. What
the emperor thought of their performance we learn from
the following observation he made to Dittersdorf, who, on
being asked his opinion, said, " Clementi's playing dis-
plays art only, while Mozart's unites both art and taste ;"
to which the emperor replied, " This is just what I have
said before !" In 1767, the emperor had already requested
Mozart to compose an opera, and at the same time ex-
pressed a wish to see him conduct it in person. Mozart
accordingly composed the opera buffa, La fitita scm-
plice, but sundry intrigues rendered the performance of
it impossible. In 1782 he composed, also by Imperial
order, the Seraglio, of which the emperor is said to
have remarked, " Too good for our ears, dear Mozart, and
an endless number of notes ;" to which Mozart good-
naturedly replied, " Just as many as are necessary, your
Majesty !" In 1786 he produced, also by Imperial com-
mand, the Schaicspiel Director, first performed at Schon-
brunn. Great interest was evinced by the emperor in
the performance of Mozart's opera, Le Nozze di Figaro,
which, after many difficulties, was at length brought out
at the National Theatre, May 1, 1786, and was greatly
admired. To retain Mozart — who at that time, being
invited by Attwood, Kelly, Storace, and others, was in-
tending to go to England — the emperor appointed him,
in 1787, as his " Kammermusikus." The first representa-
tion of Mozart's Don Giovanni in Vienna took place on
May 7th, 1788, by express command of the emperor, who
rapturously exclaimed, " This opera is splendid — perhaps
finer than Figaro, but not food that will suit the teeth of
my Viennese ;" to which Mozart, hearing this judgment,
quietly replied, " We will give them time to chew it." In
1789 Mozart composed his Cost fan tutti, by command
of Joseph II., who died on the 20th February, 1790.

After Leopold II., whose reign lasted two years only,
followed Francis II. (1768 — 1835). He was fond of music,
and had been well instructed in it. He had regular
quartett parties, and played the first violin himself. He
was so fond of his quartett that he even would not miss
it, when present at Paris and Aix-la-Chapelle, for the
Congress.

It would be ungrateful to pass over the emperor's
brother Rudolph (1788— 1831), Archduke of Austria, Car-
dinal Archbishop of Ollmutz, without a remark. He was
one of the most accomplished and elegant pianists of his
day, extremely clever in playing from the score, well ac-
quainted with classical music, and withal a thorough
patron of the arts. His friendship with Beethoven is well
known, and many of that great composer's principal works
are dedicated to him. He bequeathed the whole of his
extensive and valuable musical library to " The Society of
Austrian Friends of Music," of which he was the first
patron.

Ferdinand I. (born in 1793) was warmly devoted to
music, as, indeed, one endowed with so kind and generous
a heart could not fail to be. His Imperial Chapel coin-
prised the most distinguished artists, such as Mayseder,
Bohm, Hellmesberger, Staudigl, and many others. Fer-
dinand I. gave further sufficient proof of his appreciation
of real talent by appointing Thalberg, Dohler, and Clara
Wieck (Madame Schumann) as his pianists.

We have still to mention as a patron of the arts the
present emperor, Francis Joseph (born in 1830), who

gave a munificent proof of the esteem in which he holds
music by granting to " The Society of Friends of Music,"
on the day of their fiftieth anniversary, a site for the
erection of a new conservatory in the newly rising suburbs
of Vienna, while under the auspices of this monarch a
new opera-house has been built, one of the finest buildings
of its kind. The festivals in honour of Mozart and
Schiller in 1856 and 1859, at the latter of which music
also predominated, were held under the special patronage
and with the most liberal assistance of the emperor. It
is also worthy to be noticed that under the reign of the
present monarch orders of knighthood were first bestowed
on musicians of great merit, such as Liszt, Meyerbeer, and
Mayseder, a distinction which is of greater value in Austria
than elsewhere, since it confers the right of participating
in the Court festivities, thus furnishing opportunities for
immediate intercourse with the monarch himself. In
conclusion, we must not omit to refer to the celebrated
Court concerts, where, among other compositions, the
immortal quartetts of Haydn, Mozart, and Beethoven con-
tinue to be performed in the most perfect style, conferring
the highest honour upon the audience as well as the
executants. E. P.

ROYAL ALBERT HALL.

As mentioned in our last number, this magnificent build-
ing was opened' by Her Majesty the Queen on the 29th
of March. In its general appearance the interior of the
Hall reminds one strongly of the ancient amphitheatres,
being of an oval shape, the longer diameter (from north
to south) being 219 ft., and the shorter (from east to west)
185 ft. We quote from the official programme the follow-
ing description of the arrangement of the interior : —

The flat central floor-space of the Hall, called the arena, is 102 ft.
by 68 ft. , and is reached by six different staircases. The arena may
either be used as a larg* open area, or it may be seated over with
chairs so as to accommodate about 1,000 persons. Raised at its
lower extremity about 5 ft above the floor of the arena, and entirely
encircling it, is a tier of ten rows of steps called the amphitheatre,
capable of seating 1,366 persons. The seats in this part of the
building are called the stalls, and nearly half of them have been
sold for ^100 each for a period of 999 years. Above the stairs and
against the main wall of the Hall are three tiers of boxes, which seat
in all 1,100 visitors. Those next the stalls are called the loggie.
Above them is the grand tier, and above these again the second tier
of boxes. The forty boxes on the grand tier, holding ten persons
each, have all of them been sold for _£i,ooo apiece, and about sixty
of the second tier of boxes and several of the loggie have already
been purchased, the former for ,£500 each and the latter for j£8oo.
These boxes seat five persons and eight persons respectively.

Above the boxes, arranged in a gallery which projects out 21 ft.
from the wall of the Hall, is another tier of eight rows of seats,
capable of accommodating 1,800 people. This is called the bal-
cony, and in the opinion of many good judges constitutes one of
the best places in the Hall for enjoying the music.

Above the balcony outside the main Hall, but communicating
with it by means of thirty large arches, is the picture gallery, 20 ft.
wide, which entirely surrounds the building above the staircases
and approaches to the lower floors. From the picture gallery
access is obtained by numerous doors to the external terra cotta
balcony we have before alluded to, and from the gallery most won-
derful views can be obtained of all that is going on in the house at
a level of 60 ft. above the arena. Four staircases and two lifts
provide the means of reaching the gallery, and this is the highest
point in the building accessible to the public. The picture gallery
might, by means of temporary staging, be arranged if necessary to
seat a couple of thousand spectators ; but for the opening ceremony
only 350 visitors will be seated in two rows in the arched openings
looking into the Hall.

Our readers will doubtless be familiar, from the daily
papers, with the details of the opening ceremony. We
shall therefore restrict ourselves to a notice of the musical
portion of the programme. And first we must mention
that the Hall contains what, when completed, will be the

THE MONTHLY MUSICAL RECORD.

[May r, 1871.

largest organ in the world. It is being erected by Mr.
Henry Willis, well known as the builder of the large
organs in St. George's Hall, Liverpool, and the Alexandra
Palace. It is to contain 111 sounding stops, including
four of 32 ft. At present it is in such an unfinished state
that it is impossible to form any decided opinion of it.

The band and chorus, numbering in all some 1,200
performers, were under the experienced direction of Sir
Mickael Costa, and the most important item of the music
performed was a Biblical cantata, which that gentleman
had specially composed for the occasion. Though not a
great, it is a pleasing and effectively written work. A few
bars of recitative, " Praise ye the Lord!" lead to a spirited
chorus in B flat, "Sing aloud unto God our strength,"
which contains some good fugal writing. After a recita-
tive and air, finely sung by Mr. Santley, followed a chorale
for quartett and chorus (the quartett by Mesdames Sher-
rington and Patey, Messrs. Vernon Rigby and Santley)—
" The earth belongeth to the Lord," of a broad and simple
character, each verse being first sung by soli with stringed
accompaniments, and then repeated by full chorus and
organ. The bravura song "O clap your hands" was
brilliantly sung by Madame Sherrington, but is not parti-
cularly attractive ; but the final chorus which succeeded
it, "O sing unto the Lord a new song," is very well
worked, and, like all its composer's music, brilliantly
scored. The cantata as a whole is a musicianly work,
which does no discredit to the writer of Eli and Naaman.
The remainder of the programme requires no special
notice, as, with the exception of a pleasing chorus with
soli, "L'Invocazione all' Armonia," by the late Prince
Consort, it consisted entirely of well-known and often-
heard pieces.

Very contradictory opinions have been expressed as to
the acoustical properties of the Hall. It is more than
probable that some positions are much more advantageous
than others. As to our own experience, we could from
our seat, about half-way down the balcony, hear every
note of the music, even the more delicate details, with
the utmost distinctness. On the other hand, it was
difficult to distinguish one word of the Prince of Wales's
address to Her Majesty. In some other parts of the
building the reverse appears to have been the case. The
total absence of loudness also struck us favourably ; but
we are inclined to think, from the great size of the Hall,
which will accommodate an audience of some 8,000,
besides the performers, that the only music likely to be
very effective is that in which large masses of voices and
instruments are called into requisition. This, however, is
a matter which can only be decided by actual experiment.

BACH'S PASSION-MUSIC AT WESTMINSTER

ABBEY.
The first performance in England, according to its
author's intentions, of this immortal masterpiece, which
took place in Westminster Abbey on the 6th of April—
the day before Good Friday— may be justly named one
of the most important, as it certainly is one of the most
interesting, events of the present season. Both the
Passion according to Matthew, and that according to
John, were written for performance in church during
Passion week, as part of the religious services ; a sermon
being preached between the first and second parts of the
music. There was therefore peculiar fitness in the selec-
tion of the time for producing the work according to its
proper purpose ; and special acknowledgment should be
made of the ready aid afforded by the Dean of West-
minster, but for whose support the proposed service could
not have taken place.

The musical arrangements were under the control o
Mr. Joseph Barnby, who, as our readers will be aware, has
recently produced the Passion-music at his Oratorio Con-
certs. As female singers are not allowed in cathedrals,
the soprano part of the choruses was sung entirely by
boys selected from various London and provincial choirs.
The remainder of the chorus consisted of the members
of the Abbey Choir, reinforced by gentlemen from Mr.
Barnby's and other choirs. The soprano and contralto
solos were exceedingly well given by Master Hildersley,
of the Temple, and Master Coward, of the Chapel Royal.
The other principal vocalists were Messrs. W. H. Cum-
mings and Lewis Thomas. The two choirs and orchestras
were arranged on temporary platforms on each side of
the organ screen, which plan brought out the grand anti-
phonal effects of the double choruses with remarkable
perfection. Mr. Jekyll, assistant organist of the Abbey,
presided at the organ, and played throughout with great
taste and discretion.

Of the performance in general we can speak in the
highest terms. The sublime opening chorus " Come, ye
daughters," impressed us even more than at its recent
performance at St. James's Hall ; the chorale " O thou
begotten Son of God," which is introduced with such
masterly skill in the middle of the tangled web of voices
and instruments, being brought into due prominence by
the organ, as indicated in Bach's score. The various
exquisitely harmonised chorales which occur in the course
of the work were also most effective ; but why will Mr.
Barnby, in disregard of the composer's intentions, give
them without accompaniment ? If it is intended to
exhibit the finished part-singing of his choir, surely some
fitter opportunity might be found. Of course, many
omissions, in a work of such length, were inevitable ; but
we must again protest against the sacrifice of the fine
chorus which closes the first part. When the work was
previously given, this piece was omitted, as being con-
sidered an anti-climax after the wonderful double-chorus
that precedes it, " Have lightnings and thunders." But,
as Bitter in his Life of Bach well points out, the grand old
chorale which follows was specially intended by the com-
poser to prepare for the sermon which, as already men-
tioned, divided the two parts of the work ; and there was
therefore certainly no such justification for not performing
it on this occasion. We should even have preferred the
sacrifice of the beautiful solo and chorus " Alas ! now is
my Saviour gone," which opens the second part, and
which is sometimes omitted in Germany. With this ex-
ception the " cuts " made in the work were judicious.
After the first part, the Dean of Westminster preached an
appropriate sermon from John xii. 32. The effect of the
whole service was most solemn and impressive, and the
behaviour of the enormous audience, which crowded the
building long before the commencement, was in the
highest degree becoming. The total absence of applause,
which of course would have been indecorous at a religious
service, rather heightened than otherwise the effect of the
music. We trust that this most successful experiment
may be repeated on a future occasion.

jforriffit Comgpoitiittue.

MUSIC IN NORTH GERMANY.

(FROM OUR SPECIAL CORRESPONDENT.)

Leipzig, April, 1871.
Our concert season is finished ; a few but important
performances formed the conclusion. The two last
Subscription Concerts at the Gewandhaus brought, as

May i, 1871.]

THE MONTHLY MUSICAL RECORD.

orchestral works, the Fourth and Sixth Symphonies of
Beethoven ; the Overtures to Manfred, by Schumann ;
to Preciosa, by Weber ; to Anacreon, by Cherubini ; and
the Leonore Overture, No. 3, by Beethoven. The last-
named works were, as regards their performance, the
most brilliant deeds of our'orchestra. The total impres-
sion of the nineteenth Subscription Concert, on the 16th
of March, was less favourable than that of the previous
concerts of the season. In the performance of Schumann's
overture the conspicuous slowness of the tempo appeared
strange ; also Beethoven's B flat Symphony we have
heard better performed in the Gewandhaus. Mdme.
Jauner-Krall, from Dresden, sang the scene and cavatine,
" Hier dicht am Bach," from Weber's Euryanthe, taste-
fully, but we missed the true feeling ; we think too that
this piece, noble and fine as it is, torn from its connection
in the opera, is not in its proper sphere in the concert-
room. Three songs, of which only the first, " Geheimes,"
by Schubert, is pleasant and charming, formed the re-
maining part of Mdme. Jauner's performance.

Herr Hegar, member of the orchestra, played a new
violoncello concerto by Swendsen. The work itself forms,
unfortunately, an unpleasant contrast to the symphony
by the young composer lately mentioned. Without
striking themes, the concerto is spun out too much, and
leaves the unpleasant impression of laborious endeavours
and struggles which never lead to a satisfactory result.
Herr Hegar showed himself in the unthankfully written
principal part a thorough artist, but did not succeed in
making the whole more interesting.

However, a brighter star threw its light over the
twentieth and last of the Gewandhaus concerts. The
pieces for orchestra above-mentioned were executed with
impulse and fire. Besides, Mdlle. Anna Regan, whose
name has already been mentioned with the highest praise
in my letters, treated us to the air, " Ach ich fiihl's,"
from the Magic Flute; the well-known Sicilienne by Per-
golesi ; and the songs, " Der Nussbaum," by Schumann,
and " Mein," by Schubert. All these lyric pieces Mdlle.
Regan sang with finished execution, and happy in-
terpretation of the author's meaning. Mdlle. Regan had
to yield to a rapturous applause to repeat the " Nuss-
baum." The real conclusion of the Gewandhaus Concerts
was the performance for the benefit of the poor, on the
30th of March, of Schumann's Paradise and the Peri.
This wonderful work of Schumann's happiest and most
creative period certainly did not fail to make this time,
again, the magical impression upon us it always does.
Let the foolish ex cathedra wisdom of pedantic critics
insist upon proclaiming this incomparable composition
as too much drawn out in some parts, or not enough
polished in others ; for us it is impossible to cavil at details
when the most luxuriant fancy builds so rich and noble an
entire structure. Uniformly, from beginning to end, is
spread over the work the golden shimmer and brilliancy
of the Oriental story ; and even the fugue at the end of
the first part, " Denn heilig ist das Blut," does not in-
terfere with the sensation, nor interrupt the impression of
the whole ; although some hypercritics pretend that there
is no place for the Christian element of the fugue in
Mohammed's paradise. Even when the text is lengthy,
Schumann by his luxuriant creative power manages to
offer constantly what is new, interesting, and character-
istic ; and we do not hesitate for a moment to proclaim
Schumann's Paradise and the Peri as his most warm, glow-
ing, and characteristic creation, in which he has displayed
most fully the whole nobility and originality of his genius.

The performance as a whole was a spirited one ; the
chorus particularly deserves the highest praise ; truly
inspired, it performed its task wonderfully, notwithstand-

ing the difficulties offering. The solos were rendered by
Mdme. Peschka-Leutner, Frl. Borre'e, Herr Rebling, and
Herr Gura. With all due recognition of the excellent
rendering of Mdme. Peschka, we cannot help saying that
we have heard the part of Peri sung by less distinguished
artists with more soul and poetry. Herr Gura was ex-
cellent as usual, Herr Rebling sang the tenor part well,
whilst we should have wished for Frl. Borre'e somewhat
more warmth and feeling.

On Good Friday, we had as usual the performance of
Bach's St. Matthew's Passion in the Thomas Kirche. This
most popular work of the immortal old master is not in
all its parts of the same high value. The chorales make
the deepest impression upon us, through the air of de-
votional faith imparted to them by Bach's harmonising ;
equally high stands, in our opinion, the final chorus,
" Wir setzen uns mit Thranen nieder," in its earnest
sorrow, softened through the expression of resignation
and confidence in God. The introductory chorus,
" Kommt ihr Tochter," is imposing by its gigantic con-
struction, and reminds us, through this and its rich and
artful polyphony, of those creations of Gothic architecture
left to us by the Middle Age, so to speak, as stone monu-
ments of its earnest and sombre faith. It seems to us
as if this Gothic style in buildings, in its plant-like up-
shooting, bore a great spiritual likeness with the poly-
phonic fugued style of the church music of the Middle
Age ; but just as the Gothic style can only be properly
developed in large extensive buildings, so the polyphonic
style in music requires also room to expand. Through
this we explain the impression some of the shorter
choruses in the Matthew's Passion have always made upon
us, i.e., as if they were separated — we might almost say,
forcibly separated fragments. It is with regret that we
often hear a short chorus of a few bars conclude, which
in those few bars not only bears the germ of rich de-
velopment, but induces a feeling of want of such develop-
ment. The arias, on the other hand, are all in the broad
form of their time, and although most are full of beauty
and feeling, we feel the heaviness of -the stereotype
repetition of the whole of the first part in others. The
least happy appear to us the recitatives of the Evangelist ;
only in a few detached passages, such as for instance at
the words, " Und ging heraus und weinte bitterlich," the
part of the Evangelist rises above a certain dryness to
really impressive music. Much more important and more
feeling is the musical expression of Bach, where Christ
speaks. Like a garland of rays, a halo of glory, are the
arioso-like recitatives of Christ, encircled by the har-
monies played in the high notes by the violins. But if
we qualify single numbers according to their merit, we
do not hesitate for a moment to acknowledge the great
importance of the work as a whole in its sublime worth
and splendour ; we feel and admire this creation of
Bach, in its greatness and deeply-impressing earnestness,
as one of the finest works of our church music. We
must here distinctly keep ourselves from reproaches which
might be made against us of want of veneration for the
Matthew's Passion, because we have dared for the first
time to point out the different movements as not alike
in their merit. After having studied the work long and
heard it often, we are quite clear as to the impression it
has made upon us ; and just because we see all the beau-
ties, we do not hesitate — even risking the danger of being
calumniated — to point out what seems to us to be less
perfect in this gigantic work.

The performance this time does not rank among the
best. The choruses were feeble, and at times un-
certain ; and of the soloists, only Herr Wolters (tenor)
could satisfy us ; but no mishap spoiled the whole.

THE MONTHLY MUSICAL RECORD.

[May I, 1871.

On the 25th of March a new opera, Dornroschen, by-
August Langert, was performed for the first time in
Leipzig. Langert, is no longer a beginner : already two
of his operas have been performed on German boards,
but soon disappeared again from the repertoire.
For the Dornroschen, also, we must unfortunately make
this sad prognostication ; although our theatre has done
everything as regards beautiful decoration and costumes
to secure for the work an ephemeral existence. It is not
our province to go into details of the text, taken from the
well-known German fairy tale, but we cannot help re-
marking that to us there appears to be a want of real
dramatic life. Langert's music is a sample-card of every
imaginable style. If we do not wish to deny that a certain
workman-like routine keeps the whole well together, we
cannot on the other hand conceal that Herr Langert
lacks every originality of ideas, and even a clear artistic
taste. We can only admit that Herr Langert possesses
a knowledge of outward forms ; the different parts are
singable, and the orchestra is cleverly treated. Unfor-
tunately such are not the sole requisites of an opera com-
position ; even more than any other music, whether for the
concert-room or the church, the opera always demands
a richly-flowing source of invention to illustrate truly and
strikingly the different characters, a uniform colouring for
the whole, and an effective catching melody. Where
such originality of invention is wanting, we are at least
entitled to expect taste, feeling, warmth, and expression,
which would never be without their desired effect. We
have many an excellent work of smaller masters which
please us, because these masters, though not possessed
of an original style, endeavour with all their might to do
their best. In Langert's opera we are sorry only to be
able to discover the sterile industry of a diligent workman,
and we must deny the possibility of life to Dornroschen.
The performance of the opera, under the direction of the
composer, was an excellent one.

From the Berlin Opera we can report the reappear-
ance of Niemann as Lohengrin and Raoul. As the most
successful concert of the last week in every respect, we
can name the performance of Mendelssohn's Elijah, by
the Singakademie under the direction of Herr Blumner.
The soli were represented by the ladies Adler, Decker,
and Joachim, and Herren Geyer and Krause.

In Hamburg Messrs. Lotto and Gnitzmacher excelled
in the sixth and seventh Philharmonic Concerts. The
seventh concert, like the concert of the Singakademie,
was under the direction of Conzertmeister Boie, Herr
von Bernuth being dangerously ill with the small-pox.

The Konigliche Capelle at Dresden finished its con-
certs with Beethoven's Eroica Symphony and Haydn's
Symphony in C. Much praised are the two last soirees
of the Florentine Quartett.

In our neighbouring town, Halle, the St. Joints Passion,
by Bach, was performed by the Singakademie.

Shortly will be published by C. F. Peters, in Leipzig,
Wagner's great " Kaisermarsch." We have already had
the opportunity to look at this work of the great opera
composer, and without entering into details to-day, we
will not fail to draw the attention of our readers to it.

MUSIC IN VIENNA.

(FROM OUR SPECIAL CORRESPONDENT.)

Vienna, 15th April, 1871.
OUR season is on its decline ; a small number of concerts
more, and then the Opera enjoys absolute monarchy. The
eighth and last of the Philharmonic concerts finished with
the Symphony No. 8, by Beethoven, admirably executed,
as also the overture to Manfred, by Schumann. Two

numbers of the programme were new — a scherzo, by
Goldmark, a much-esteemed composer in Vienna, who
has produced already many valuable works, particularly
in chamber-music ; the scherzo, which abounds in striking
effects, pleased, and was repeated. Not so fortunate was
Liszt with his " Orpheus,symphonische Dichtung," in which
the composer shows a pitiable want of invention in musical
ideas. It was good that the symphony by Beethoven
followed immediately, to bring the concert and the whole
cycl'us to a deserving close.

The Gesellschaft der Musikfreunde, which, besides their
four subscription concerts for the members, give also every
year two extra concerts, arranged for this time an evening
of a miscellaneous character, and a second one for the
performance of Bach's Matthaus-Passion. The first one
looked like a virtuosi-concert : Griitzmacher (cello), from
Dresden, and Nicolaus Rubinstein (piano), from Moscow,
being invited expressly. Wieniawsky did not come, and
was replaced by Hellmesberger. As singer was engaged
Mdlle. Minnie Hauck, from the Opera. Griitzmacher, a
cellist of the best reputation, was heard for the first time
in Vienna, and proved himself an artist of a very high
order. He performed Schumann's concerto (Op. 129),
and a fantasia of his own (by-the-by, a very old-fashioned
work). Rubinstein, the brother of the famous Anton, who
was likewise in Vienna for the first time, excelled in
Liszt's concerto, E flat major, but was more criticised in
some solos. Minnie Hauck sang the aria, " I know that
my Redeemer liveth," a serenade by Gounod, and songs
by Schubert and Schumann. Handel is certainly not her
forte j the serenade she sang well, but you can hear it
better by Mdme. Lemmens-Sherrington, or by Mdme.
Parepa-Rosa. However, she had much applause, and
was forced to repeat one of the songs. Wagner's " Faust
Overture" opened this concert, which, on the whole, left
much to desire. The performance of Bach's Matthdus-
Passion aroused general interest, and the more so as two
solo parts were sung by two eminent singers from abroad.
Herr Vogl, tenor, from the Munich Hoftheater, and Carl
Hill, from Schwerin, are two oratorio singers of real
artistic value. Their rendering of the very difficult parts,
their phrasing, declamation, and true expression, were
honoured with enthusiastic reception. The glorious work,
which was not heard since the year 1 865, made again a deep
impression. Such masterpieces as the Passions according
to Matthew and to John, Beethoven's Missa Solennis, the
oratorios by Handel, are like rocks which no time ever
will debilitate.

On the Gesellschafts-Abend of the Orchesterverein we
heard Frl. Constanza Skiwa perform the 2nd Concerto-
symphony, B minor, for pian© and orchestra, by Litolff.
After a severe illness it was for the first time that this
gifted pianist was again playing, and her rendering of the
vigorous, fantastic composition found a very favourable
reception. She displayed, indeed, a brilliant, light touch,
great fluency of execution, and decision of rhythm and
accent. The symphony in G minor, by Mehul, which also
was performed, I have heard in your Philharmonic con-
certs. The first part is quite in the style of an overture,
and reminds one a little of Cherubini's Medea.

In the concert of the Akademische Gesangverein was
performed a beautiful chorus by Schubert, " Ruhe schonstes
Gliick der Erde," just now published by Gotthard. The
performance of the piano concerto in D minor, by Mozart,
by Frl. Le Beau, was of little interest. Richard Wagner's
Liebesmahl der Apostel, composed in the year 1845, has
its climax in the entrance of the full orchestra, which
produces an immense, striking effect. The chorus is
dramatic, sometimes dry, vague, and too much recalling
Tannhauser, which Wagner wrote immediately after. A

May I, 1871.]

THE MONTHLY MUSICAL RECORD.

new composition by Brahms, " Rhapsodie from Gothe's
Harzreise," alto solo, male chorus, and orchestra, was
performed for the first time in Vienna. It is evident that
Brahms has written this piece with particular care ; the
scoring is most effective, orchestra, chorus, solo, united
with invariably exquisite taste. Frl. Burenne, who also
sang an air from Handel's Rinaldo, gained much applause
by her delivery of the solo, and the whole composition met
with an enthusiastic reception, the composer being recalled
again and again. (I can add here that the requiem of
Brahms, of which I have spoken lately, was performed now
again in Bremen, under the conductorship of the com-
poser, and likewise in Carlsruhe, where it was heard now
for the third time, this time in the cathedral.) The new
chormeister, Herr Ernst Frank, who is likewise conductor
of the Singverein, showed himself of artistic value, and
was deservedly honoured with applause.

The Haydn- Verein, a fund for the widows and orphans
of musicians, similar to your Royal Society of Musicians
(since 1862 called Haydn- Verein, in honour of Haydn,
formerly Tonkiinstler-Societat), performed, as centenary
celebration of the institute, the Creation and the Seasons
in the Burgtheater. The Denkschrift, which was pub-
lished on this occasion, gives an account of the founda-
tion and the development of this society, which has now
a property of half a million of florins. To the Creation
and the Seasons the Haydn- Verein owes a great part of
its income, the sum of 112,000 florins. Haydn's name is
also otherwise connected with this society, but not to its
glory ; as also Mozart, who was not accepted as member
because he could not produce his certificate of baptism.
We meet, also, the name of Salieri, 36 years president of
the society ; Weigl, the composer of the Schweizerfatnilie,
Gassmann, the founder of this Verein in the year 1771 ;
Dittersdorf, Albrechtsberger, Cherubini, Vogler, Paer,
Neukomm. In the list of the solo-singers we meet with
names of high rank — as, for instance, Fischer-Achten,
Hassett-Barth, Lind, Lutzer, Medori, Milder, Murska,
Ney, Sontag, Storace, Tietjens, Aloisia Weber, afterwards
Madme. Lange, Wilt ; as also Ander, L. Fischer, Forti,
Fraschini, Hauser, Marchesi, Staudigl, Wild. Staudigl,
who was so famous in Haydn's two cantatas, sang eighty
times, and never accepted any fee. In the list of the
instrumentalists who performed solos we find Beethoven,
Clement, the famous violinist, who gave concerts as a
boy of eight years in London, Dittersdorf, Fisher, the
Irish violinist, Janson, the three Khaylls, La Motte,
another violinist, who was in London in 1772, Le Brun
(hautbois), Mozart, Reicha, Ferdinand and Louis Spohr,
Hadler, Hainetz, Weidinger, a celebrated trumpeter,
Wendling (flute), the pianist Wolffl, etc. As soli for the
two festival days were engaged the above-mentioned
Vogl and Hill ; unfortunately the latter became ill, and was
replaced on the second day by Dr. E. Kraus, from the
Opera, who sang his part well. Again the execution,
interpretation, and depth of expression of the two named
singers were admirable ; Vogl, particularly, created quite
a sensation in the air, "Mit Wiird' und Hoheit angethan"
(In native worth), and in many parts of the Seasons.
Frl. Hauck, who sang on the second day, is not fitted
for an oratorio singer ; Frau Dustmann sang well in the
Creation. The very small house called Burgtheater was
overflowed with musical friends on both evenings. In my
next report I shall take notice of some more concerts, and
of Robert Heckmann, concertmeister from Leipzig, a very
clever and intelligent violinist. The last concert of the
Singakademie will be rendered very interesting by some
compositions by Schubert, newly discovered, and by
Handel's L 'Allegro ed il Pensieroso, performed for the
first time in Vienna.

The Opera has been hard put to it all this time by con-
tinued indisposition of the singers. It was again necessary
to look out for assistance, and so we heard some guests,
and some more are expected for the next time. There were
only nineteen opera evenings (five ballets and Easter week
making up the rest of the month). The programme was
as follows : — L'A/ricaine (three. times)y Faust, Schwarze,
Domino, Tannhauser, Fliegende Holld)ider (each twice),
Figaro's Hochzeit, Don Juan, Freischiitz, Jiidin, Stumme
(Masaniello), Lucia, Martha (each once). One repre-
sentation of L'A/ricaine was interesting, Walter and Wilt
performing the roles of Vasco and Selica ; as Nelusco,
alternately Beck and V. Bignio, both darlings of the public.
As guests we heard Steger, who found the climate in
Vienna too severe, and went back to Pesth after having
performed only one role (Eleazar) ; Adams, once a mem-
ber of our Opera, and probably now again engaged ; Hill,
from Schwerin, who performed Wolfram von Eschinbach
(Tannhauser), since well represented by Bignio ; and
Fliegende Hollander, one of the best roles of Beck. Herr
Hill, who introduced himself into Vienna as a first-rate
oratorio singer, was again happy in the opera. His voice
has passed its zenith, but the singer knows how to capti-
vate through his masterly intellectual interpretation. Last,
not least (as you like to say), came Mdlle. Murska, ex-
pressly from London to fulfil her engagement, that is, to
sing on two evenings. She arrived, sang " Lucia," the
following evening " Lady Harriet," both in her well-known
bravura style, received applause in abundance, and re-
turned to London ; but not before having been secured
by the direction for the autumn of a number of represen-
tations. Frl. Tellheim has quitted the Opera, and was
immediately engaged in the Carltheater, where she
performed day by day Prince Rafael in Offenbach's
Prinzessin von Trapezunt. This operetta, represented by
the best members of this theatre, as Frl. Gallineyer,
Meyerhoff, Schafer, Herren Matras, Knaack, Blasel,
Eppich, cannot fail to attract people, to laugh and amuse
themselves at this last production of a period that has
finished with the ruin of a land which every feeling and
sensible man must deplore.

ftebfetosf*

Ein Deutsche; Requiem, nach Worten derJieti. Schrift, fur Soli,
Chor, und Orchester, von Johannes Brahms. Op. 45 (A
German Requiem ; the words from the Holy Scriptures. For
Soli, Chorus, and Orchestra, by Johannes Brahms. Op. 45).
Full Score and Vocal Score. Leipzig ; J. Rieter-Biedermann.

Our Vienna correspondent, in his letter which appeared in our last
number, gave an account of the first performance of this work at
Vienna, and spoke of the great effect it had produced. An exami-
nation of some of the instrumental works of the same writer had led
us to form an opinion of his abilities that was not altogether in his
favour. We are bound therefore in justice to say that, after a care-
ful and somewhat minute examination of the present work, we
consider it decidedly superior to anything of its author's that had
previously come under our notice. From a mere perusal of the
music we should hardly have been inclined to speak of it in quite
such glowing terms as our esteemed correspondent ; but it is quite
possible that a hearing of the work might modify the opinion formed
from reading it ; as it is not easy, even for the most experienced
score-reader, to take in with the eye the full effect of some of the
elaborate combinations here employed. The ' ' Deutsches Requiem "
has undoubtedly two great merits — it is original, from the first bar
to the last, and the music is admirably suited to the words. The
selection of these latter (whether made by the composer himself
does not appear) is excellent, and offers abundant scope for variety
of style. Before proceeding to notice the work in detail, we may as
well say at once that the one great fault we find with it is its
diffuseness. It is a somewhat remarkable thing that the same
failing seems characteristic of nearly all the modern German school,
of which Brahms is one of the most illustrious writers. In many

THE MONTHLY MUSICAL RECORD.

[May I, 1871.

cases it is, we fear, that an attempt is made to conceal the want of
ideas by over-elaboration. Such is not the case with the present
work, in which ideas are abundant ; but some of the movements
would, we think, have certainly gained in effect by judicious curtail-
ment.

The " Requiem " is written for four-part chorus, with soprano and
baritone soli, and very full orchestral accompaniments, the harp
having a prominent part in some of the movements. The opening
chorus in F, "Selig sind die da Leid tragen " (Blessed are they
that mourn), is of a quiet and funereal character, and a peculiarly
sombre tone is given to the instrumentation by the silence of
the violins and the use of divided violas and violoncellos. The idea
was probably suggested to the composer by the opening chorus of
Cherubini's Requiem in c minor, in which the same effect is used.
A beautiful episode in D flat, " Die mit Thranen saen " (They that
sow in tears), in which the harp is most effectively used, gives relief
to the solemn first subject. No. 2, in B flat minor, "Denn alles
Fleisch es ist wie Gras " (For all Flesh is as Grass), commences with
a very fine funeral march in triple time. To this succeeds a
beautiful movement in G flat, "So seid nun geduldig " (Be patient
therefore, brethren), after which the march recurs. At the words
" Aber des Herrn Wort " (But the Word of the Lord endureth for
ever), the music modulates into the major, and the movement
concludes with a long and very clever coda, containing some
excellent fugal writing, but too much spun out. At the third
number the baritone solo is introduced for the first time, with the
words "Herr, lehredoch mich " (Lord, make me to know mine end).
Each phrase of the solo voice is repeated in full harmony by the
chorus. This movement is perhaps the most sombre and funereal in
tone of the whole work — too much so, indeed, ever to be popular,
but full of fine ideas, and exquisitely scored ; and here we may say
in passing that Herr Brahms' instrumentation is most masterly
throughout : the score is indeed a perfect treat to lovers oi instru-
mental combination. It is at the close of this movement that one
of the finest effects of the whole work is to be found. After the
long continuance of minor keys, the composer at the words " Ich
hoffe auf dich " (My hope is in thee) changes into the major, the
chorus being accompanied by sustained notes for the brass instru-
ments ; and then immediately follows the splendid pedal point on
D major, mentioned by our correspondent, in which the lower D is
held for thirty-six bars of double length, four minims in the bar, by
trombones, tuba, drums, violoncellos, double-basses, and organ,
while the chorus executes an elaborate fugue on the words ' ' Der
Gerechten Seelen" (The souls of the righteous are in the hand of
God). We can well imagine that the effect of this passage
would be most imposing. The succeeding chorus, "Wie lieblich
sind deine Wohnungen" (How amiable are thy dwellings), is of a
quiet and flowing character, which gives a grateful sense of relief
after the grand climax of the third number. The soprano solo and
chorus (No. 5), " Ihr habt nun Traurigkeit" (Now ye have sorrow),
is full of most beautiful melody, set off by delicate touches of
instrumentation. Very effective is a point near the close of the
movement, where the principal subject, sung by the solo voice, is
accompanied by the same melody in augmentation given to the
tenor chorus. The opening portion of No. 6, "Denn wir haben
hie" (For here we have no continuing city), strikes us in reading as
somewhat weak. The music seems laboured and the melodies
strained ; but the following " Vivace," " Denn es wird die Posaune
schallen" (For the trumpet shall sound), is exceedingly fine ; and the
concluding fugue, "Herr, du bist wiirdig"(Thou art worthy, O
Lord), though too long and over-developed, is a masterly piece of
writing. The final chorus (with soprano solo), "Selig sind die
Todten" (Blessed are the dead), has considerable similarity in style
to the opening portion of the Requiem ; and with a fragment of the
introductory theme the work is brought to a conclusion.

We have described the " Deutsches Requiem" at greater length
than usual, because in spite of some obscurity and more diffuseness,
it has interested us greatly as the work of an original thinker.
Whether it would ever be a popular work here is an open question.
The melody, abundant though it often is, is not of the kind cal-
culated to catch the ear of an English public ; it appeals rather to
educated musicians than to mixed audiences ; but we have no
hesitation in saying that, however tastes may differ with respect to
it, Herr Brahms has succeeded in producing one of the most
thoughtful and most important compositions of recent years. We
will only add that the work, like all those issuing from the well-
known house of Rieter-Biedermann, is most beautifully engraved.

likely to be very acceptable to such pianists as wish to play really
good music, but whose powers of execution are somewhat limited.
Written as teaching pieces by one who was himself a most distin-
guished teacher, they are admirably adapted both to form the taste
and train the mechanism of young pupils. Even children will like
them, as they are full of "pretty tunes,'' while more advanced
players will find the music sufficiently good not to be beneath their
attention. With respect to the type and " getting-up " of the
volume, it will be sufficient to say that it is in the same elegant style
as the other works of the series, with which most of our readers will
probably be familiar ; while the careful and copious fingering of
Herr Pauer will be a valuable aid to learners, and save much time
and trouble to teachers.

Twelve Sonatinas fur the Pianoforte, by M. Clementi. Edited
and fingered by E. Pauer. London : Augener & Co.

This is the most recent addition to the valuable series of octavo
classics now being issued by Messrs. Augener & Co. ; and it is

Grosse Sonate, unvollendet, fur Pianoforte zu vier Handen,
componirt 1814, von Franz Schubert (Grand Sonata,
unfinished, for Piano Duet, composed in 1814, by Franz
Schubert).

Allegretto fur Pianoforte, von Franz Schubert.

5 Canti per una voce, da Fr. SCHUBERT.

"Rune schbnstes Gluch der Erde," fur vier M&Mnerstimmen,
componirt im April 1819, von FRANZ SCHUBERT.

Wien : J. P. Gotthard.

Any fresh works from the apparently exhaustless repertoire of
Schubert's unpublished compositions are sure to be welcome to
musicians. Of course, writing so much as he did, it is not to be
expected that all his works should reach the same high standard of
excellence ; but he was a composer of such marked individuality,
and such remarkable fertility of invention, that even his smallest works
are almost sure to contain something specially attractive, and (as
he never by any chance repeats himself) something also absolutely
fresh. We cannot honestly say that all the works now before us are
in his best manner, but they are all full of interest, while two of
them are as characteristic of their author as anything he has
written. The Duet-Sonata, which ought more correctly to have
been entitled ,( Fantasia,'' being very irregular in form, commences,
after four bars of prelude, with a not very interesting Allegro in
C minor on a fugued subject, leading, without a pause, into a
charming Andante amoroso in B flat. To this succeeds another
rather long Allegro, more attractive than the opening movement,
but by no means in Schubert's best style ; and the fragment
concludes with a few bars of Adagio in D flat, ending with a half-
cadence in B flat minor, that excites curiosity as to what would have
followed. This sonata is chiefly interesting as a remarkable pro-
duction for a lad of seventeen. Judged merely by its own merits
it must (with the exception of the lovely Andante) be pronounced
weak. The Allegretto for Piano, on the contrary, is a perfect little
gem. It is in C minor, 6-8 time, in the form of a scherzo and trio ;
and, though only four pages in length, is as truly a work of genius
as anything its composer has written. It dates from 1827 — the
period of the ripest development of its author's powers. The
five Italian songs— the first four composed in 1820, and the fifth in
1813 — are all interesting, but there is not one of them which will
rank by the side of their author's finest inspirations. Being set to
Italian words, Schubert has copied the Italian style, and produced
a series of very elegant rather than highly original romances. In
the part-song for four male voices again we find him at his very best.
Few people in England have any idea how great he was as a writer
of part-songs, as most of his works of this class are only published
with German words, and in separate parts. Yet many of them are
equal to the best of his songs, and the one now under notice is
among them. Melody, harmony, and modulation are alike charm-
ing ; and as it is published in score as well as in parts, those who
have not the opportunity of hearing it sung will at least be able to
read it.

Quariett in Es dur,jiir Pianoforte, Violine, Bratsche, und Violonceh
(Quartett in E flat major, for Piano, Violin, Tenor, and
Violoncello). Von Bernhard Hopffer. Op. 4.

12 Lieder, far eine Singstimme, mit Begleitung des Pianoforte
(12 Songs for One Voice, with Pianoforte accompaniment). Von
B. Hopffer, Op. 5.

Ditto, ditto, by B. Hopffer. Op. 6.

Ditto, ditto, ditto. Op. 9.

Wanderlieder, fur etnt Singstimme mit Pianoforte. Von B.
Hopffer. Op. 8.

Gesang der Nonnen, fiir dreisti?nmigen Frauenchor, mit Solo, und
Orchester (Song of the Nuns, for three-part Female Chorus,
with Solo, and Orchestra). Von B. Hopffer. Op. 10. Full
Score and Vocal Score. Berlin : Mitscher und RSstell.

The name of Herr Hopffer will doubtless be as new to our readers
as it was to ourselves. He is, we understand, quite a young man,

May I, 1871.]

THE MONTHLY MUSICAL RECORD.

who has only recently come forward as a composer. It is often
anything but a pleasant task to read through a number of new works
by an unknown man. So many writers seem urged by an inex-
plicable impulse to waste music-paper, when they really have
nothing to say which is worth hearing, that it is an agreeable
surprise to meet with a series of pieces which, like those now under
notice, contain absolutely new ideas. Herr Hopffer is the fortunate
possessor of an abundant vein of pleasing and original melody.
This shows itself most distinctly in the collections of songs. Among
these there are so many that are good, that it is a difficult thing to
select any for special commendation. The author whom the young
composer seems to have taken as his model is, we think, Schubert ;
and a better model for this class of writing could not be named. In
form and style many of the Lieder remind us of the "Schone
Miillerin ; " but the melodies are original ; it is simply that they are
cast in the same mould. They have also the great merit of clear-
ness of form, and are entirely free from that diffuseness and
constant straining after effect which is the bane of so much modern
German music. The piano quartett, though exceedingly well
written, and thoroughly effective as well as pleasing, is less indi-
vidual in character than the songs. The opening Allegro is some-
what tinctured with reminiscences of Mendelssohn's and Schumann's
style ; while the Scherzo — undoubtedly the most difficult movement
in which to strike out a new path — has a decided flavour of
Beethoven about it. The Adagio and Finale are more original ;
and, in the comparative dearth of good piano quartetts, the work
may be safely recommended to players. The " Gesang der Nonnen''
is, to our mind, the least successful of the works before us. The
scoring is good, and the subjects original, but not specially inte-
resting, and the whole piece is rather dry. On the whole we augur
well of Herr Hopffer's future, and believe that if he continues to
write as well as he has begun, he will leave his mark on the music of
the present day. We have not for a long while seen any early
works of a composer that give so much promise as these.

Die Davidsbiindler. 18 Characteristic Pieces for the Pianoforte,
by Robert Schumann. Op. 6. Edited by E. Pauer.
London : Augener & Co.

There is perhaps no composer whose music "grows upon one"
(to use a common phrase) more than Schumann's. From its very
originality it is mostly difficult, sometimes even impossible, to grasp
its full meaning at first. Not only are the passages so novel and
unusual as to render the task of sight-playing more than ordinarily
hard, but even when the notes are mastered the whole beauty of
the thought does not always strike the player at once. The music
must be studied carefully, and heard repeatedly, to be fully appre-
ciated. Perhaps no more characteristic examples of their author
than these little pieces could be named. They are all short, many
of them only one page in length. Some of them are reasonably
easy to play, while others are very " fidgetting ;" but they will
amply repay for any amount of labour that maybe devoted to them.
An explanation of the somewhat eccentric name may be interesting
to our readers, especially as the note prefixed to the German
editions has not been translated in this. Schumann used to say
that he recognised in himself two distinct personalities, to which he
gave the fanciful names of Florestan, the man of action, and
Eusebius, the man of thought ; and the " Davidsbiindler " was an
imaginary society of which Florestan and Eusebius were the prin-
cipal members. The first edition of the work, indeed, merely bore
the title " Davidsbiindler, by Florestan and Eusebius." The pieces
in this collection, supposed to be written by each— in other words,
reflecting the two phases of Schumann's character — are marked
with an F. and an E. respectively ; and the comparison of the two
styles is highly interesting. Some of the pieces signed with E.
(especially Nos. 5, n, and 14) are most lovely examples of their
author's dreamy manner ; while the more vigorous and generally
more difficult ' pieces allotted to "Florestan " are in their way quite
as characteristic. Best of all, perhaps, are the few numbers which
bear both initials, though the entire series is so fine that it is really
difficult to select any for special praise. All lovers of Schumann
(and their number is daily increasing) will be glad to make the
acquaintance of this charming work.

In Modo d'una Marcia, by Robert Schumann, transcribed
for the Piano by E. Pauer (London : Augener & Co.), is a capital
arrangement of the slow movement of Schumann's well-known and
popular quintett for piano and strings. It is not easy to play
well ; but it would have been impossible to make it so without
tampering with the music in a way which Herr Pauer is too con-
scientious an artist to do, and there are no needless difficulties
about it, while the manner in which the effect of the five instruments
is condensed for the piano alone is often very ingenious — as, for

instance, on the fifth and sixth pages. In its present form pianists
with a fair amount of execution will find the piece worthy of their
attention.

The War Horse, Trumpet March (whatever that may be) for the
Pianoforte, by John Old (London : Ashdown & Parry), is a
straightforward sort of piece, that may be safely recommended to
teachers in want of a change from the " classical."

Supplication, Sacred Melody for the Piano ; Wiegenlied, Cradle
Song for the Piano, by Franz M. d'Alquen (London : Augener
& Co.), are two little teaching-pieces which will be found useful,
as, without being difficult, they require considerable attention to
phrasing and expression to do justice to them.

Song to Music, by James J. Monk (London : Weippert & Co.),
is a flowing and pleasing song, with a simple melody and still more
simple words.

Song of the Martyr, written and composed by Alfred Phillips
(London : A. Phillips). Mr. Phillips seems to entertain original
ideas on the subjec* of rhyme. "Affright me" is made to rhyme
with "mighty," " power " with "more," and "glory" with "for
me." The music, which is cast in a somewhat ambitious mould, is
worthy of the words.

St. Patrick's Day, Patriotic Song, by Joseph Short (Birming-
ham, J. Short), is perfectly harmless, and has afforded us a little
mild amusement, as it probably will those who may purchase it.
On this ground it may be recommended.

Two Preludial Pieces for the Organ, by C. B. Grundy (Liver-
pool : Hime & Son). The first of these pieces is somewhat
deficient in distinct character, and is so very "preludial" that we
are tempted to ask the author (as Beethoven did Himmel when the
latter extemporised to him), "When are you going to begin?"
No. 2 is less vague, and more pleasing ; but we would suggest to
Mr. Grundy that it is not of much use to give such an indication
to the player as "Swell, Vox humana, with Tremulant," inasmuch
as not one organ in fifty has a tremulant, while certainly not one
in a hundred has a Vox humana,

Bless the Lord, O my Soul, Anthem, by C. B. Grundy (London :
Novello, Ewer, & Co. ), has good points about it ; indeed, we much
prefer it to the two organ pieces just noticed. It has also a well-
written organ obligato. But Mr. Grundy is not always sufficiently
careful in indicating how the organ is to be employed. For instance,
we have been puzzling ourselves over the indication " Corni," at the
end of the first line of page 5. As the left hand is already employed
on the swell, we do not see how the effect is to be obtained. Also,
we must confess to a dislike of the setting of the words of the first
verse, "and all that's within me." Why not have written, "all
that is within me," making "all that" a dotted crotchet and a
quaver ? The answer to the subject of the fugue on page 6 should
(to be correct) begin on E, and not on F. We have taken the
trouble to mention these points, because there is so much that is
good in the anthem as to make it worth correcting.

Te Deurn in Chant Form in the key of F (London : Pardon &
Son). An Evening Service in the key oj F. Ave Maria, for Six
Voices, with Accompaniment for Harmonium, by E. Bunnett,
Mus. Doc. (London: Novello, Ewer, & Co.). The whole of these
works show the hand of a well-trained musician. The " Te Deum"
would, we think, have been better for a little more variety and
contrast in the chants. The Evening Service is well written, chiefly
for voices in unison ; and, being very easy, is suitable for country
choirs. By far the best piece of the three we consider to be the
" Ave Maria " for soprano and tenor solos with four-part chorus.
It is melodious, clear in form, and finished in workmanship, and
does credit alike to Dr. Bunnett's invention and knowledge.

MUSIC RECEIVED FOR REVIEW.

Ellerton, J. L. "Love in my Bosom,'' Madrigal. (No pub-
lisher's name given.)

Ellerton, J. L. "Violets Again," Madrigal. (No publisher's
name given.)

Gordon, J. Hart. "A Summer's Night,"' Song. (Hutchings &
Romer.)

Lockett, W. "Watch and Pray," Anthem. (Novello, Ewer, &
Co.)

Pieracsini, E. "Thou art Gone to the Grave," Sacred Song.
(Bristol : A. Dimoline.)

Richards, Westley. " Rondo for Pianoforte." (Lamborn Cock
& Co.)

Salamau, C. "Prelude and Gavotte." (Lamborn Cock &
Co.)

Theodora. " A Serenade." (R. Cocks & Co.)

THE MONTHLY MUSICAL RECORD.

[May I, 1871.

Concerts:, Set.

CRYSTAL PALACE SATURDAY CONCERTS.
On Saturday, April the 1st, M. Gounod appeared at these concerts
by invitation, to conduct his 2nd Symphony in E flat, and the
Saltarello which he lately composed for the Philharmonic Society.
The former is a very pleasing and melodious composition, and like
all its author's works, beautifully scored ; at the same time we should
not be honestly discharging our critical duties, did we not add that
we never met with any symphony so full of (shall we say ?) reminis-
cences. The Saltarello is more original, and pleased- greatly. The
overtures were Spohr's yessonda, and Sullivan's lively and pleasing
" Ouvertura di Ballo." The pianist was Mdme. Arabella Goddard,
who played, even more finely than usual, Mendelssohn's well-known
concerto in G minor. The vocalists were Mdlle. Carola, Mdme.
Hayde"e-Abrek, and Mr. Vernon Rigby.

On the 8th, the symphony was Mendelssohn's "Scotch," in A
minor, which, excepting two slips, one in the scherzo and one in the
finale, went splendidly. Of a work so well known, and so univer-
sally admired, it is superfluous to say anything. We will only
remark that we thoroughly agree with " G." in his opinion given in
the programme of the concert, as to the final " Maestoso " being a
mistake. One is inclined to wonder that a composer so fastidious and
severely self-critical as Mendelssohn should not have perceived this.
The overtures were as broadly contrasted in style as they could
well be, being Beethoven's Prometheus and Wagner's Ta?inhauser.
The latter, a tone-poem if ever there was one, is not in general fully
understood. Indeed, it is impossible that it can be by those who
are unacquainted with the rest of the opera, as nearly every bar is
taken from the body of the work ; and the overture, like some of
Weber's, is an epitome of the whole cpera. The solo instru-
mentalist was Signor Piatti, who in a fantasia with orchestra by
Kummer on an air by Molique, displayed the most wonderful
command over his instrument. The playing, however, pleased us
better than the music. Mdme. Joachim, in Beethoven's great scena
"Ah Perfido !" (transposed a tone lower than written) and in two
songs by Schumann, displayed not merely her fine and well-trained
voice, but remarkable dramatic power and intelligence. We never
remember hearing the introductory recitative of Beethoven's scene
given with more effect. The other singer was Miss Sophie Loewe
(a pupil, we believe, of Herr Stockhausen), who sang extremely well
"Hear ye Israel," from Elijah, and " Deh Vieni," from Figaro,
besides joining Mdme. Joachim in the duett " Sull' Aria," from the
same opera.

A special treat was provided for the Sydenham concert-goers, on
the 15th of April, in a most superb performance of Schubert's great
symphony in c, No. 9. We never remember a more splendid ren-
dering of this glorious work. The only point to which exception
could be taken was, that two passages — one at the commencement
of the introduction, and the other in the middle of the andante —
which are marked in the score to be played by two horns in unison,
were given only to one. For the rest, we have nothing but praise ;
the whole work went without the least slip — even down to the
drums — and the delicacy and refinement, as well as the spirit and
fire of the whole, were such as are to be heard only at the Crystal
Palace. It is almost invidious to single out special performers for
praise ; but as a new member of the band, we must mention M.
Dubrucq, who has succeeded the late Mr. Crozier as first oboe, and
who in the many important solos allotted by Schubert to his instru-
ment, displayed a purity of tone, and a perfection of style and
phrasing, which were simply faultless. Mozart's overture to the
Seraglio opened, and Auber's sparkling overture to Marco Spada
concluded the concert. Another noteworthy feature was Mr. Dann-
reuther's performance of Chopin's pianoforte concerto in F minor.
This work, which is but seldom heard in public, is perhaps the most
difficult piece of music ever written for the instrument ; and we
must add that the effect is not proportioned to the labour involved
in playing it. A more finished rendering of the work than Mr.
Dannreuther's is impossible. Under his fingers the enormous diffi-
culties of the work appeared so simple, that we fear he did not,
except with the few hearers who knew the music, get the credit he
fairly deserved. The expression, truthful and unexaggerated, was
no less commendable than the mechanical accuracy. Yet, in spite
of the excellence of the playing, the concerto was comparatively
ineffective. Chopin's inexperience as a writer for the orchestra is
clearly seen in the accompaniments, which too often, instead of
supporting, only obscure the solo instrument. The vocalists were
Mdlle. d'£ngle?vil, and Mdme. de Gourieff, each of whom made a
successful first appearance, and Signor Delle Sedie, well known as
an accomplished singer.

The twenty-sixth (and last) concert of the present series took
place on the 22nd. We have only space to say that the programme

included, among other things, Beethoven's septett, played by all
the strings of the orchestra (which had been previously thus per-
formed at one of the concerts before Christmas, and was repeated
"by general desire"); Schumann's overture, from his Op. 52, a
march by Herr Joachim, and Mr. F. H. Cowen's very clever inci-
dental music to Schiller's Maid of Orleans, which was produced with
so much success at Herr Kuhe's recent musical festival at Brighton.

MONDAY POPULAR CONCERTS.

Madame Arabella Goddard's benefit took place on the 27th of
March, when that lady made her first re-appearance since her recent
illness. Her playing was, of course, the prominent feature of the
evening. She selected as her solo Schubert's great sonata in B flat,
and also played with Herr Joachim Mozart's sonata in G for piano
and violin ; and with that gentleman and Signor Piatti, Mendelssohn's
trio in D minor. Madame Goddard's playing is so well known that
it is needless to enlarge on the wonderful perfection and finish of her
performance. Suffice it to say that she never played better than on
the occasion now under notice. The remaining instrumental piece
in the programme was Beethoven's last quartett in F, Op. 135,
which opened the concert, played to perfection by Messrs. Joachim,
Ries, Strauss, and Piatti. Mr. Santley was the vocalist, and Sir
Julius Benedict conducted. The latter gentleman in making his
appearance on the orchestra received an " ovation," in recognition
of his recently conferred dignity.

At the director's benefit, on the 3rd of April, the last concert of
the present season, Mr. Chappell, as usual, provided a more than
ordinarily interesting and bountiful bill "of fare. The concert
opened with Haydn's charming quartett in F, Op. 77, No. 2, one
of his finest works of this class, and containing a specially exquisite
slow movement. It was played— it is needless to say how well — by
Messrs. Joachim, Ries, Strauss, and Piatti. Herr Joachim also
contributed Ernst's Elegie for violin, and, receiving an irresistible
encore, played a movement from Bach's violin sonatas in his own
unapproachable manner. He also, with Madame Norman-N6ruda,
played two movements from one of Spohr's duets for two violins.
Signor Piatti contributed a largo from one of Boccherini's sonatas.
There were no less than three pianists : Madame Schumann, Mr.
Charles Halle", and Herr Pauer, who joined in the 'performance of
Bach's concerto for three pianos in D minor, besides each playing
a solo. Madame Schumann chose Mendelssohn's Presto Scherzando
in F sharp minor ; Mr. Halle", Beethoven's exquisite variations in F,
Op. 34, and Herr Pauer, Schubert's impromptu in B flat. The
vocalists were Madame Joachim and Mr. Santley, to each of whom
two songs were assigned. Of the season thus successfully concluded,
we need only observe that, though perhaps less marked than
might have been desired by the production of novelties, it has been
inferior to none in the general interest of its programmes, or in the
perfect finish of the performances.

SACRED HARMONIC SOCIETY.

On March the 31st, Haydn's rarely-heard oratorio the Seasons was
performed by this society at Exeter Hall. While less universally
popular than the same composer's Creation, which preceded it by
three years, it is not less interesting to musicians, and contains
many movements fully equal to the best portions of the earlier
oratorio. Among these may be specified the charming opening
chorus ''Come, gentle Spring," one of the best-known numbers of
the work, which on this occasion suffered greatly in effect by being
taken much too slow ; and also the splendid finale to the " Spring,"
" Marvellous, Lord, are thy works." In the " Summer," the lovely
soprano song " Here amid these calm recesses" — quite equal in
beauty to the better-known "With verdure clad," in the same key
— and the "Storm Chorus," are in Haydn's best manner. In the
"Autumn," we may point to the exquisite lovers' duet, omitted at
this performance — possibly as being considered too "secular"' in
character for the " Sacred" Harmonic Society, as well as the Hunt-
ing Chorus, and the final jovial drinking chorus ; while in the
" Winter" the lovely airs for soprano and bass, as well as the grand
finale, are also quite worthy of their author. The performance on the
whole was a satisfactory one. . The principal vocalists were Madame
Sherrington, Mr. Cummings, and Mr. Santley, the latter of whom
specially distinguished himself in the song "With joy the impatient
husbandman, " the theme of which, by the way, Rossini appropriated
for his "Zitti, zitti," in the Barbiere. Sir Michael Costa conducted
as usual.

On Friday, the 14th of April, Mendelssohn's Elijah was given at
the Albert Hall, instead of at Exeter Hall, as usual. The principal
solo parts were entrusted to Madame L. Sherrington, Madame
Patey (whose artistic singing of " O rest in the Lord " was encored),
Mr. Vernon Rigby, and Mr. Lewis Thomas. It is difficult at pre-
sent to pronounce finally on the acoustical properties of the new
hall, as the effect of the music appears to depend very much on

May r, 1871.]

THE MONTHLY MUSICAL RECORD.

the situation of the hearer's seat. Still, there can be no doubt that
there is as yet far too much reverberation, and that material altera-
tions will be necessary to render the hall a really good place for
sound. It is only needful to add that the oratorio was performed
as finely as usual ; but that, for the reason above alluded to, the
effect was inferior to that which we are accustomed to at the society's
usual place of meeting.

ORATORIO CONCERTS.
Sir Julius Benedict's oratorio, St. Peter, which, as most of our
readers will be aware, was composed for the last Birmingham Festi-
val, was given at the fourth of these concerts, on the 29th of March.
The work displays the thorough musicianly acquirements of its
composer, and shows throughout a practised hand ; but there are
comparatively few numbers in it which give proof of real genius, or
in which the writer touches the hearts and feelings of the hearers.
This may be partly due to the libretto, which seems to us about as
weak and clumsy as it could well be. Full justice was done to the
work on this occasion by all concerned in the performance. The
principal vocalists were Mdme. Lemmens-Sherrington, who was
particularly successful in the flowing air, "I mourn as a dove;"
Mdme. Patey, to whom fell one of the best songs in the oratorio,
"O thou afflicted ;" Mr. Sims Reeves, and Mr. Santley, who sang
the whole of the music allotted to St. Peter in his own finished and
masterly style. Among the choruses, special praise must be given
to the performance of ' ' The deep uttered his voice, " and ' ' The
Lord be a lamp," as well as to the final chorus of the first part,
"Praise ye the Lord." The orchestral accompaniments through-
out were most effective, and Mr. Barnby conducted with his usual
ability.

On Wednesday, the 19th of April, a capital performance was
given of Handel's Israel in Egypt. A choir like Mr. Barnby's,
competent to render such music as Bach's Passion, and Beethoven's
Mass in D, would of course find little difficulty with Handel's
straightforward music, though the Israel contains one of its author's
most difficult choruses in "The people shall hear." The whole
performance of the choir was admirable, distinguished alike by
accuracy and fire. The solo parts, which, as our readers will know,
are fewer in this than in any other oratorio, were sung by Mdme.
Lemmens-Sherrington, Miss Annie Sinclair, Mdme. Patey, Mr.
Sims Reeves, Herr Stepan, and Mr. Beale.

The first and second of a series of six concerts announced by the
Royal Society of Arts, to be given in aid of a national training
school for music, took place at the Royal Albert Hall on the 12th
and 19th of April, under the direction of Sir Michael Costa. The
programmes consisted almost entirely of well-known and popular
pieces, calling for no special remark. The only important classical
work was Beethoven's great concerto in E flat, very finely played
at the first concert by Mdme. Goddard, but coldly received by the
aristocratic audience. It is a subject for regret that at such concerts
for such an object, more of the highest class of music was not in-
troduced. The excessive echo in the hall, moreover, interferes
disagreeably with the effect of the music. We trust that means
may be found to remedy this defect.

The Philharmonic Concert of the 24th April included Haydn's
Symphony No. 7, and Spohr's in D minor, the overture to Leonora,
Wagner's overture to Riettzi, and Mendelssohn's G minor con-
certo, played by Mdlle. Brandes. As the concert took place
after our going to press, we confine ourselves to recording the
programme.

For the first of the New Philharmonic Concerts, on the 26th of
April, were announced Wagner's overture to Dcr flicgende Hol-
lander, Beethoven's cantata The Praise of Music, which had not
been performed in London for many years, Gounod's symphony in
E flat, and Beethoven's concerto in C major, played by Mr. Charles
Halle-.

The programme of the first Matinee of the Musical Union, on
Tuesday, the 18th, comprised Mozart's quartett in D, No. 10 ; Beeth-
oven's trio in D, Op. 70, No. 1 ; and Haydn's F minor quartett.
Signor Sivori was the first violin, and M. Jacques Baur made a
very successful first appearance in England as a pianist.

•The last of Mr. Ridley Prentice's concerts at the Eyre Arms,
which took place on the 30th of April, deserves special notice, as
the programme contained two important works produced for the
first time in this country. The first of these was Schubert's ex-
quisitely graceful quartett in e flat, Op. 125, No. 1, which was
capitally played by Messrs. Holmes, Clementi, Zerbini, and Piatti.
The adagio and finale gave special pleasure. The other new work
was a sonata in D minor by Veracini, for violoncello (Query — was
this originally for violin?) and piano, played in his own masterly
style by Signor Piatti. The work contains a very beautiful largo
and a most quaint and sprightly giget. The remaining instrumental

pieces were Beethoven's sonata in F minor (commonly called the
" Appassionata'), played by Mr. Prentice, and Schumann's well-
known piano quintett, in which that gentleman was joined by the
four above named. The vocal music comprised some revivals of
cantatas by Carissimi.

The second and third of Mr. Coenen's "Concerts of Modern
Music," which took place on the 4th and 21st of April, were fully
equal in interest to the first. We regret that space allows us to do
no more than name the works performed. At the second concert
were given Rubinstein's sonata in F minor, Op. 49, for piano and
violin ; Brahms' piano quartett in A, Op. 26 ; and Volkmann's
string quartett, in G minor, Op. 14. At the third concert were
performed Rubinstein's string quartett in B flat, Op. 47 ; Reinecke's
trio in D, Op. 38, and Brahms' piano quintett in F minor, Op. 34.
Herr Reinecke played the pianoforte part in his own trio ; with this
exception the instrumental performers were the same as at the first
concert, noticed in our last number.

*.* Owing to our limited space, we have given no record of the
performances at the operas. This we the less regret, as the works
produced have been merely the ordinary stock pieces. Should any
novelty of importance be introduced, we shall take care to notice it.

jflusfral ftotei^

The International Exhibition is to be opened to-day. Musical
performances will form an important feature of the ceremony, four
works having been specially commissioned for the occasion, from
English, French, German, and Italian composers. A cantata by Mr.
Arthur Sullivan, a psalm by M. Gounod, a march by Dr. Hiller,
and a chorale by the Chevalier Pinsuti are, we believe, to be pro-
duced. We shall hope to give an account of the performance in our
next number.

Mr. John Ella has been appointed Professor of Music at the
London Institution.

Haydn's fine Stabat Mater (a work too seldom heard in this
country) was performed by the students of the Royal Academy, at
the rehearsal on April 4th.

Mr. John Balsir Chatterton. the well-known harpist, died at
his residence in London on the 9th of April, in the sixty-seventh
year of his age.

As advertised in our last number, a new cantata, " Fair Rosa-
mond," by Mr. Joseph L. Roeckel, was performed at the Crystal
Palace on the 29th ult. As this event took place after our going to
press, we must defer a notice of it.

The death of M. Fetis is announced from Brussels, at the mature
age of eighty-seven. Though a voluminous composer, he is better
known as a writer on the theory and history of music. His most
important work is perhaps his " Biographie Universelle des
Musiciens," in eight volumes, which, though containing many in-
accuracies and omissions, is a remarkable example of industry and
research.

The death is also announced of Dr. G. G. Gervinus, one of the
most distinguished German literati of the present day. He is best
known in this country from the leading part he took in the establish-
ment of the " German Handel Society."

Lortzing's light and pleasing opera, Czaar und Zimmermann,
has been produced at the Gaiety Theatre, under the title of Peter
the Shipwright, with Mr. Santley in the principal character.

According to the Signale, no less than 634 patriotic compositions
(war songs, &c.) were published in Germany between the 16th July
and the 22nd August of last year.

A ONE-ACT opera, Barbarossa, by Bernhard Hopffer (some of
whose compositions are reviewed in this paper), has been selected
for performance on the occasion of the peace-celebrations at Berlin.

Mr. Richard Hoffman, a distinguished American pianist, has
lately concluded a very successful series of pianoforte recitals at
New York.

The German Bach Society have lately modified their stringent
rules as to the selling separate volumes of their fine edition of Bach's
works. The first ten volumes are now to be had singly. It is to
be hoped that the rest of the series will soon be included in the same
arrangement.

Organ Appointment. Mr. H. J. Dean, to St. Stephen's, Spital-
fields.

TO CORRESPONDENTS.

We have received a letter from " Edgbaston," of which we are
unable to take any notice, as the writer has (we presume inadver-
tently) omitted to send his name or address.

We frequently receive music accompanied by a request for "a re-
view in the next number." Owing to the pressure on our space this

THE MONTHLY MUSICAL RECORD.

[May I, 1871.

is mostly impossible, and we take this opportunity of saying that
our general plan is to acknowledge the receipt of music in one
number, and review it in the following. In any case, composers
need not fear that their works are overlooked if not immediately
noticed.

TO CORRESPONDENTS.

All communications respecting Contributions should be addressed
to the Editor, and must be accompanied by the name and address
of the writer, as a guarantee of good faith.

The Editor cannot undertake to return Rejected Communica-
tions.

Business letters should be addressed to the Publishers.

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Sold for the Benefit of trie French Peasantry.

ARITA VALSE. By JANE ANDRYANE.

London : Augener & Co.,

Price 4s.

5, Newgate Street.

Brighton : 1, Palace Place

MR. C. CLARIDGE (the new Tenor) is now at
liberty to accept engagements for Oratorios, Operettas, Concerts,
&c. Address : 8, Colworth Terrace, Leytonstone, E.

N ASSISTANT wanted at a Music Warehouse

in London. Must understand the trade, and have a good character
from last place. Address to A. H., 86, Newgate Street.

R. Schumann's
A DVICE to YOUNG MUSICIANS (from Schu-

■I \- mann's Album of Fifty-six Original Pieces, edited by E. Pauer).
Price 6d.

London : Augener & Co., Beethoven House.

HINTS to PERFORMERS on MUSICAL In-
struments played by the Touch of the Hand. For the use
of Teachers and Students of Music. By Dr. Leo Kerbusch. Price is. net.
London : Augener & Co.

Music from Lortzing's Opera, " Czaar und Zim-
mermarm " (Peter the Shipwright).

Piano Solos.

K.UHE, W. Transcription of the Czaarenlied "Sanst spielt ich."

(In Childhood I Dallied)

SMITH, BOYTON. Illustration Operatique

VOSS, CH. Fantaisie brillante

Complete Opera, arranged

Overture

Piano Duets.

CRAMER. Potpourri

Complete Opera, arranged

Overture

Sundries.

Overture for full Band

CRAMER. Potpourris :—

For Violin and Pianoforte

For Violoncello and Pianoforte

For Flute and Pianoforte

Vocal.

Complete Opera in Vocal Score

" In Childhood I Dallied," Sanst spielt ich (sung by Mr. Santley),

in G clef

The same in Bass clef

1 16 o

CLASSICS FOR THE PIANOFORTE.

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edges Net o 10

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London : AUGENER & CO., 86, Newgate Street.

CARL ENGEL'S

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Bound, 12s. ; or in Four Parts, each, 4s.

"This unpretending little book is judiciously compiled, and is calculated
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" It seems sensible enough in its precepts, and its examples to be chosen
with a view to variety and progress.' — A thtnaitm.

London : AUGENER & CO., 86, Newgate Street.

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Myrtle Wreath (Myrthen), Op. 25. Twenty-six Songs with Piano- £ s. d.
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London : AUGENER & CO., 86, Newgate Street.

London : AUGENER and CO,, 86, Newgate Street.

FRANZ SCHUBERT.

The Maid of the Mill (Die Scheme Miillerin). Twenty Songs with £ s. d.
English and German Words. Edited by E. Pauer ... Net 030

London : AUGENER & CO., 86, Newgate Street.

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J. S. BACH.

My Heart ever Faithful. Air for Soprano :—

No. 1.— In F, for Voice with Cello, or Violin and Pianoforte...
2. — In F, for Voice with Harmonium and Pianoforte. By

E. Prout o 4

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4.— In C, with Piano o 2

5.— Arranged for Organ by Thomas Kilner o 2

London : AUGENER & CO., 86, Newgate Street.

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Let my Entreaties (Se i miei sospiri). Aria di chiesa (1667) :— ^ ^

No. 1.— For Soprano or Tenor with Pianoforte o 2

2. —For Alto or Baritone with Pianoforte o 2

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Pianoforte. By E- Prout o 4

5.— For Organ. By E. Prout ° 4

London: AUGENER & CO., 86, Newgate Street.

June I, 1871.]

THE MONTHLY MUSICAL RECORD.

Cftt lltflitfjjlg liteaifld ^enrrb.

JUNE 1, 1 87 1.

THE INFLUENCE OF THALBERG ON THE
PRESENT GENERATION OF PIANISTS.

The news of the death of Thalberg, at Naples, came as
a surprise about a month since to musicians. An outline
of the leading facts of his life will be found on another
page of this Number ; but the influence he has exerted on
writers for and players on the piano has been so great,
that it will not be inappropriate if we direct the attention
of our readers for a little while to the subject. As an
original composer, it need scarcely be said that Thalberg
will not for a moment compare with such writers for the
piano as Mozart, Beethoven, or Mendelssohn ; yet it may
be questioned whether either of these three has done so
much to enlarge the resources of the instrument as that
eminent virtuoso. It is true that some of his effects had
been hinted at by his predecessors. Many of his octave
passages and extensions, for example, are foreshadowed
by Weber ; while his manner of singing a melody on the
piano, and at the same time performing a brilliant accom-
paniment, is an elaboration of Mendelssohn's idea of the
" Song without Words." Indeed, the latter composer's
great Prelude in E minor (No. 1 of the Six Preludes and
Fugues, Op. 35) is quite an anticipation of Thalberg's
style. But after making every deduction of this kind,
which we do in no carping spirit, it is still undeniable that
as an inventor of new effects and combinations he has
been equalled by no one, unless it be Liszt. And with
Liszt he can hardly be compared, but must rather be
contrasted ; for while the great Hungarian's writings
show the eccentricities of genius, those of Thalberg, on
the contrary, display the satisfying symmetry of a highly-
cultured talent. Liszt's compositions, moreover, like his
playing, have exerted comparatively but little influence,
partly because of their enormous difficulty, which in some
cases is so great that there are certain pieces of his which,
it is said, no one but himself has ever been able to make
thoroughly effective. Genius, moreover — especially such
an erratic genius as his — is far more difficult to imitate
successfully than the most highly-finished talent. And
we think it is one great secret of the popularity of Thal-
berg's music, that, however showy and brilliant, it is
never eccentric nor unintelligible. As many of our
readers will know, it is by no means easy to play well ;
still it is within the reach of well-trained pianists, and
will always reward for the labour involved in getting it up.
Having thus testified our hearty appreciation of Thal-
berg's merits, we deem it right to add that, on the whole,
we do not think that the influence exerted by his music
has been salutary. He has indisputably done good ser-
vice, as we have already said, by the additions he has
made to the resources of the piano. But the enthusiasm
excited by his playing has raised up a swarm of imitators,
who, without ideas or invention of their own, have en-
deavoured to obtain similar effects from the instrument.
Herr von Lenz, in his work " Beethoven et ses Trois
Styles," is not far from the truth when he says, " The
piano of the present day, to tell the truth, consists only of
Thalberg simple, Thalberg amended, and Thalberg exag-
gerated ; scratch what is written for the piano, and you
will find Thalberg." All music in which the idea is
entirely secondary to the execution, in which nothing but
the display of digital agility is thought of, is, however
useful as practice — nay, more, however pleasing to listen

to — artistically false. The art should never be debased
to mere ear-tickling ; and we consider the evil influence
of Thalberg to consist in this— that others have been
tempted by the brilliant, and, doubtless, of its kind, well-
deserved success of his works, to inundate the music
shops with imitations of his style and effects, without his
orginality for their excuse ; and instead of new ideas, to
give us merely passage writing. Were it advisable, pieces
might easily be named, which have had considerable
popularity, that are the most palpable copies of Thalberg's
style, adapted to the capacity of school-girls. The whole
question of modern piano-playing, and the class of music
most in vogue, is too wide to be treated of in the present
article. Possibly we may return to the subject on some
future occasion ; meanwhile, we simply enter our protest
against the degradation to the mere performance of scales
and arpeggios of an instrument to which Mozart, Beethoven,
and Weber confided some of their choicest thoughts.

Some of our readers may perhaps think us hypercritical ;
others may say that we fix our standard of art too high.
Possibly we do ; but if so, we would far rather err in this
direction than in the opposite. Of course, if the piano is
simply used (as is too often the case) as an accompani-
ment to conversation at evening parties, it matters very
little what is played ; but we regard music as something
far higher — not merely a means of amusement, but an
educational power, capable, if rightly used, of elevating
the mind alike of players and listeners ; and therefore we
regard as prejudicial any influences which have a tendency
to elevate the merely mechanical at the expense of the
intellectual. It is for this reason that, while admitting,
as fully as any can do, Thalberg's great talent both as a
player and a writer, we contend that he has not, in the
highest and best sense, been a benefactor to his art.

FRANZ SCHUBERT'S MASSES.

BY EBENEZER PROUT, B.A.

( Continued from page 57.)'

5. THE MASS IN E FLAT.

Although the great mass which is now about to be
noticed comes fifth in our series, it is not the one which
really succeeded the mass in c, Jast analysed in these
columns. Schubert's fifth mass was that in A flat, com-
posed in the year 1822,- and still unpublished. I have
made more than one effort to obtain a copy of the score,
in order to be able to give the readers of this paper an
account of it, but all my efforts have been unsuccessful ;
I am therefore obliged to pass it by with merely this
word of explanation.

The mass in E flat was composed — according to the
date of the autograph which is in the Royal Library at
Berlin — in June, 1828, only five months, therefore, before
the composer's untimely death. It is more accessible
to the general public than the rest of the series, as the
enterprising publisher, Rieter-Biedermann, of Leipzig,
brought out, a few years since, both the full score and
the vocal score, as well as the separate vocal and instru-
mental parts. As a work of art the mass is far superior
to any of those hitherto noticed, and is, indeed, one of
the finest examples of its author's genius, worthy to com-
pare with the great symphony in C, written in the same
year, or with his great quartetts in D minor and G.

The mass in E flat, like the first mass in F, is scored
for a very full orchestra. Besides the ordinary string
quartctt, we find oboes, clarinets, bassoons, horns, trum-
pets, trombones, and drums. It is a curious thing that
in none of our author's masses do we find any parts for

THE MONTHLY MUSICAL RECORD.

[June I, 1 87 1.

flutes. Perhaps he shared the opinion attributed to
Cherubini, that " the only thing worse than one flute was
twoj" or he may have considered the tone of the instru-
ment wanting in the dignity requisite for sacred music.
Even in his smaller sacred works we find the same
peculiarity. In his great "Hymn to the Holy Ghost"
(Op. 154), which is accompanied by a very full band of
wind instruments, the flutes are conspicuous by their
absence. The only sacred composition in which they
are to be found is the First Offertory, " Totus in corde
langueo " (Op. 46), and whatever may be the explanation,
the fact is curious enough to be worth noting.

One more remark before proceeding to a detailed
examination of this mass. It is far longer than any of
the preceding ones. The longest of these, the mass in f,
contains in all only 940 bars, while the present work has
1,687. It is not that it is absolutely of unusual length ;
some of Haydn's six grand masses are nearly or quite
equal to it, while Beethoven's great mass in D, and
Cherubim's in D minor, are far longer ; but all the earlier
masses are in comparison short and unimportant, while
the mass in e flat is planned on a large scale, and pro-
bably designed for some high festival of the Church

The "Kyrie" (in E flat, f, Andante con moto. quasi
Allegretto, 164 bars) arrests attention at once by the
beauty of the opening symphony. The use of the brass
instruments, pianissimo, was a favourite device of Schu-
bert's in his later years, and one of which he may fairly
be considered the inventor. We find it employed by him
also in his Rosamunde music, and in the introduction of
the overture to Fierabras. Not less striking is the
rhythm marked by the basses, while the pathos of the
phrase, and its exquisite harmonies, will not escape
notice : —

Andante con moto, quasi Allegretto.
>-h °b-

fagotti.
Bassi.

>-»4 v p-

ii=ES^gl^^S

In the following bar the chorus enters pianissimo, with
the same subject, accompanied only by the strings, the
basses persistently maintaining the rhythm already estab-
lished. Then follows an entirely new subject, announced

first in a symphony of four bars for the orchestra, in
which the theme is given to an oboe and a clarinet in
unison — a somewhat unusual tone-colouring, which Schu-
bert has used likewise in the first allegro of his B minor
symphony, and the andante of the symphony in C.
Cherubini also employs it occasionally in his overtures.
This melody is accompanied by moving quavers in the
violins, and sustained chords for the favourite trombones
piano. A series of flowing melodies, over which space
forbids our staying, leads to a full close in B flat ; in
which key the " Christe " follows, with a great crescendo
up to a fortissimo, and a most unexpected modulation
into c major. The voice parts merely are quoted: —

The instruments accompany in unison and octaves —
the strings in iterated triplets, and the wind in holding
chords, while the basses march in stately crotchets, with
bold skips of an octave, and even a tenth. After three
bars of interlude for the strings, the passage is repeated,
the modulation this time being from G minor to D major,
in which key the music continues for some little time,
returning to E flat by one of those sudden transitions so
characteristic of Schubert : —

( Wind Instr. ten.)

This dominant seventh is sustained for six bars longer
a most effective horn solo being introduced, which we
must forbear quoting, and then the first subject recurs.
Matter that has been previously used makes up the rest
of the movement, till near the close, when a most beautiful
coda is added. To give any adequate idea of it, one
would have to print the last four pages of the score in
full ; but space must be found for the symphony of four
bars by which the coda is introduced, as containing one
of its author's most original solos for the horn ; very
similar to the one referred to as leading back to the first
subject: —

Fag. i, Cor, i, unit.

Bassi, pizt.

The effect of the sforzando on the closed F flat of the
horn in the above quotation is new and striking. At the
next bar the chorus enters on the chord of A flat ; then
after the chord of c-flat, a fine pedal point of twelve bars

June i, 1871.]

THE MONTHLY MUSICAL RECORD.

on B flat succeeds ; the symphony just quoted is repeated,
and the close follows almost immediately.

The " Gloria," which is in four movements, is distin-
guished both by breadth of style and novelty of treatment.
The opening movement (B flat, E, Allegro moderate e
maestoso, 144 bars) commences without a note of introduc-
tion, with a bold phrase for the unaccompanied chorus :—

T, . Tutti.

Vocl- Vinl I'

The unexpected entry of the full orchestra at the fourth
bar (which is not quoted, as the instruments go with the
voices) is very effective. After a few bars of vigorous
harmony, we reach a full cadence in B flat ; after which
the first three bars of the subject last quoted is given to
the bassoons and trombones piano, and on the chord of G
the chorus enters, also piano, with the " et in terra pax."
At the " Laudamus te " the first subject recurs in its com-
plete form, and with the same treatment as at the opening
of the movement ; that is, the first three bars for the
voices alone, and the full orchestra entering as before at
the fourth bar. After the half-cadence on F, follows a
most characteristic touch of Schubert's harmony and
modulation in the " Adoramus te," which is so beautiful
that room must be spared to quote the voice parts of the
whole passage : —

Sop. pp

** , Alto A

a - do - ra-mus te, a

Tenft

rir^f±^fr9

be - ne - di - ci-mus, be - ne - di - ci-mus te.

The exquisite beauty of the change of harmony on the F
of the soprano will strike every reader, and needs no
comment ; but the effect of the passage is still further
enhanced by the orchestral colouring. The bars for the
soprano alone are unaccompanied ; but at the entry of
the full chorus the first phrase in D flat is accompanied
by the strings ; and the second, in striking contrast, by
one oboe and three trombones, pianissimo, in both cases
the instruments being in unison with the voices. A masterly
forte on the " Glorificamus te " succeeds, which is espe-
cially remarkable for a bold modulation into C flat, which
is unfortunately too long to quote. In this key the
chorus concludes this part of the movement ; and one of
those sudden transitions, to which Schubert in his later

years was so partial, brings us back at once into E flat, in
which key a new and important theme is introduced for
the " Gratias " : —

Claf, {Fag, all Zve.)

Str. pizz

iiss

gi - mus ti - bi

4-J . A A

tor

X=^

am, &c.

This subject is treated at some length, and with various
modifications in the disposition of voices and instruments ;
after which the original theme is once more introduced,
and a charming piano cadence for voices and strings,
brings this striking and highly original movement to a close.
The "Domine Deus" which follows (g minor, Andante
con moto, f , 86 bars) is even more novel in design and
effect than the chorus last noticed. After a prelude of six
bars, the tenor and bass in octaves give out the words,
" Domine Deus, agnus Dei, qui tollis peccata mundi," as
a choral recitative, in detached ejaculations, with a bold
counter-subject with bassoons and trombones in unison,
and tremolo accompaniments for the strings ; then after a
gradual diminuendo, and one bar of the note D held
pianissimo by the alto trombone and the first bassoon,
the whole chorus whispers the " miserere " in the follow-
ing exquisite phrase in G major :—

Tromb. Alto. Fag, l.

se - re - re,
I J I

** *

ftS:

±±

1 5 5 u_T L

Basso.
bone tacet. Ctarirtetti e Fagotti Colle Voce.

bis, &c.
sc - re - re .r u "*

The opening subject then recurs in C minor, the theme
being now sung by altos and tenors in octaves ; now
leading to the " miserere " in C major, with the melody in
the tenor instead of the soprano. After a third repetition

THE MONTHLY MUSICAL RECORD.

[June I, 1871.

of these two themes (in D minor and major) the climax of
the movement is reached. Schubert has returned to the
original key of G minor ; the tenors and basses, as at first,
exclaim " Domine Deus " in octaves ; and now the trebles
and altos, also in octaves, repeat the cry at a bar's interval
in free imitation. More and more piercing rise the cries
of the chorus — an extraordinary enharmonic modulation
from B flat to A minor, leads up to a tremendous burst
fff for the full orchestra, and the chorus in unison
utter one great shout of " miserere " — now no longer a
subdued prayer, but an agonised cry for mercy, accom-
panied by the poignant discord of the chord of the minor
ninth and eleventh ; and a few bars for the orchestra con-
clude this striking movement. It is so impossible to
compress the score into a few staves, that I must re-
luctantly refrain from quoting this magnificent cadence.

The "Quoniam" (b flat, <£, tempo, imo, 29 bars) is
nothing more than a repetition of the chief subject of the
first movement of the " Gloria," and is evidently intended
as a prelude to the elaborate fugue which follows, " Cum
sancto spiritu " (b flat, B, moderato, 205 bars). The sub-
ject of the fugue is the following : —

Basso.

This extract gives a fair idea of the style of the entire
movement. The instruments play in unison with the
voices throughout. Towards the close, after a pause on
F, a short stTdto is introduced for the wind instruments
alone, fticuw. This is then repeated, in a somewhat varied
form, by the voices, and succeeded by a long and effective
pedal point. It is impossible on the whole to consider
this fugue one of the best portions of the mass. Schu-
bert never excelled in the scientific style ; and although
some most beautiful canons are to be found in his masses
— such as the settings of the " Benedictus " in those in F
and G, and the " Et incarnatus," presently to be noticed
in this work — whenever he had to fetter himself by the
stricter forms of composition, his ideas seem to flow less
freely, and there is a stiffness about the music which
is usually quite foreign to his manner. If his fugue in
E minor (Op. -152) for piano duet is compared with
Mozart's four-handed fugue in G minor, the difference
between laboured and unlaboured composition in the
same style will at once appear. In spite, however, of the
comparative weakness of the last movement, this " Gloria "
must, on the whole, rank among the noblest inspirations
of its author.

(To be continued,)

- men, &c

The opening phrase will be recognised as an old
acquaintance ; being, indeed, identical with the subject
of the fugue in E in Bach's " Forty-eight," and the finale
of the "Jupiter" symphony of Mozart, not to mention at
least half a dozen other pieces in which it may be found.
Schubert is in general so thoroughly original in his
themes, that one can hardly doubt that he took this sub-
ject designedly, with, the view of subjecting it to new
treatment. And the various counterpoints and accom-
paniments introduced give an effect of novelty to the
movement which would hardly have been expected from
the opening. Chromatic harmony forms an important
feature of the whole. Take as an example the treatment
when the alto first enters : —

^ Alto

6 cum sane

men, cum sane -to spi

Ten

^pg^npip

glo

in
ri - a

-55:

^±L±=±

De - i pa- tris. A

FREDERIC CHOPIN.

(FROM A LECTURE DELIVERED AT SOUTH KENSINGTON BY
E. PAUER.)

One of the most interesting and fascinating artists is
Frederic FranQois Chopin. Very little is known about his
childhood. He was born in 1 810, in a village near Warsaw,
where his father, a Frenchman, and his mother, a Polish
lady, lived quietly in very modest, even restricted circum-
stances. The only son, he was loved with touching affec-
tion by his high-principled parents. Strange to say, Chopin
was never taught by any celebrated man, but by sound
and clever musicians only, who held Bach and all classical
masters in high respect. His greatest progress he owed
to himself, and to his strict observation of all that he found
in others worthy of adaptation. He never appropriated a
foreign speciality before examining it closely to see how
far it would agree with his own nature. This nature was
essentially Polish. After the unhappy revolution of 1830,
his feeling for his unfortunate country predominated to
such a degree as to hinder the development of some of
his finest inspirations, by that freedom indispensable to a
good work of art. Three composers influenced Chopin
greatly — namely, Bach, Mozart, and Weber. In his works
there is Bach's tendency to polyphony, Mozart's elegant
and chaste grace, and Weber's chivalrous romance. It
is also said that Chopin was very fond of Hummel, and
particularly of that distinguished master's Concerto in A
minor, which may readily be believed. A comparison of
Chopin's F minor Concerto with it will show the close
relation between the two masters. That Chopin inclined
towards the Mozart or Vienna school is undeniable. In
observing the peculiarities of his style as a composer, and
the specialities of his playing, his originality is very
remarkable : he not only invented new chords and modes
of treatment, but also new forms. The Impromptu, the
Ballade, the Scherzo — in the novel length and altered in-
tention given to it by him — the Valse de Salon, are his
creations. His pieces in the smallest form are the most
perfect. In his eighteen Nocturnes — a form invented by
John Field — he gives us music of great charm, of a nobility
of feeling rarely to be met with. His twenty-four Grand
Studies are a standard work, and have not been surpassed.
Their beauty is very great, and their value lasting.

June I, 1871.]

THE MONTHLY MUSICAL RECORD.

Chopin is an intrinsically subjective composer : he
gives us in his music moments of his inner life, which
show a depth of feeling perhaps inadmissible in a classical
piece of large dimensions. True, they are only passing
moments ; but they awaken in us such real delight that we
listen spell-bound ; and none, save a mere matter-of-fact
person, can exist, but will feel inclined to muse on these
unusual strains. Chopin enriched the three chief elements
of music — rhythm, harmony, and melody. Granting that
his rhythmical expression is the result of his Polish
nationality, and that particularly the Polonaise and
Mazurek, those two essentially Polish dances, are the
chief source of their existence, it must nevertheless be
conceded that they had not hitherto been appropriated in
such an effective or useful way. Respecting his har-
monies, it may be observed that Chopin is fond of blend-
ing the major and minor keys ; that is, he applies
unreservedly to pieces written in major keys chords be-
longing of right to the minor keys, and vice versd. This
amalgamation offers to him many new and surprising
harmonic effects. Although Weber had previously indi-
cated in some of his works this innovation, it emanated
with him more from a dramatic tendency. With Chopin
it originates in his nationality. These outbursts of great
joy at the seeming prospect of deliverance from the hated
yoke of a merciless oppressor, on the other hand, the
deep mournful resignation to a deplorable fate, these are
the salient traits of Polish character. They are repre-
sented truthfully in Chopin's music. His melodies are
no less remarkable as evidencing his innate sense of
beauty than for impressing us with the distinction and
nobility of his mind. Chopin in his life never wrote a
vulgar note.

During the whole time of his residence in Paris he was
surrounded by the most distinguished persons, and moved
only in the best society. With few exceptions his pupils
were ladies belonging to the aristocracy of France, Ger-
many, and Poland. In a strict sense, Chopin was never
a popular composer ; nevertheless, he has left a deeper
mark in the history of pianoforte music than many com-
posers who received the plaudits of an enthusiastic crowd.
Chopin's music requires, for real appreciation, a small
and select audience; it needs a quiet room, the dimensions
of which will allow of the perception of those delicate
traits and appreciation of those refined harmonies, the ten-
derness and distinction of which are lost in a larger circle.
From these observations it is .easy to divine that his
style of playing was very analogous to that of his com-
positions. His performance was perfect to the very least
details, and his touch enchanted all who heard him. The
quantity of tone he produced, although lovely in itself,
was, however, small in comparison with that of other
virtuosi, and was less adapted for large concert rooms.
Chopin's style was too elegant for the great public ; his
personality made no impression upon the mass ; but it
was so much the more attractive to the cultivated indi-
vidual.

Although a musician may point out certain things
in Chopin's compositions that may fail to strike
a sympathetic chord in every heart, yet for the
pianist, Chopin excites the highest interest. He and
Schumann, as well as Mendelssohn, exert the greatest
attraction.

This interest is not lost, but it increases with more
intimate acquaintance ; his studies will be ever welcome,
and his valses and mazurkas will ever delight us. The
teacher will never tire of hearing his nocturnes and im-
promptus, and the pupil will bear in grateful remembrance
the delight of having revealed to her or him this new
world of harmony and beauty. A phenomenon of such

note as Chopin was deserves from us a much longer notice
than the limitation imposed by our space accords.

E. P R.

ON DANCES IN CONNECTION WITH
PIANOFORTE MUSIC.

As more than half of that which has been written for the
piano is based on the rhythmical features of Dances, or
has been evolved from them, it will not be without interest
to pass them in review, and to cite the countries, with the
date, as near as we can find it, of their invention. We
will begin with Spain. It is well known that dancing is
one of the national amusements of the chivalrous people
of that country. Their pleasure in dancing amounts
to a passion. As long ago as the romance writers their
Gaditanic dances were described, in which castagnettes —
an accompaniment to the dances of almost all southern
people — would seem to have been used, and as much
vigour and passion exhibited as in the modern Fandango
and Bolero. We will pass over the Pordon Dantza (dance
with lances), the Saut Basque, the Chika, which was
introduced by the negroes and was afterwards adopted
by the nuns, who danced it on Christmas Eve to express
their joy on that occasion, and the Moriska, as they have
not been known out of Spain. Of greater interest to
English readers will be the Pavana. In the " Parthenia,"
a.d. 161 1 — the first collection of music ever printed for the
Virginalls — we find several Pavanas ; the Pavana S. Wm.
Petre, and another the Earl of Salisbury, both by William
Byrde ; further, the Pavana Thomas Wake, and one by
Dr. John Bull. A serious, solemn measure, it was also
called the " great dance." The princes danced it in full
dress, with long mantles ; the knights in cloaks, with
swords ; the magistrates in their robes, and the ladies
with trains. The name may be derived from " pavo," a
peacock, or from a noun of si milar orthography meaning
a turkey-cock. In dancing it the movements of the pea-
cock in spreading its tail were imitated. But others main-
tain that Pavana comes from " Paduana," as a dance
" saltato paduaux " is mentioned by an old writer cited by
Rabelais, Vol. v., ch. 30.

Another Spanish dance is the Gallarda or Gaillarda,
often found in the works of Byrd, Bull, and others. An
old German writer calls it " a dance invented by Satan."
As passionate in their opposition are the old writers to the
Zarabanda, later called Sarabande, which became known
about 1588, and which was named after a "devil of a
woman " in Seville. Padre Mariana describes this dance
at some length in his work, " De Spectaculis," and says
that " this indecent dance has brought on more misfortune
than the plague." In France the Sarabande was changed
into a more serious and noble measure, and is described
in F«uillet's " Chorography " (1700) as an heroic datice.

The Seguidilla is better known. The word means con-
tinuation, and is also applied to the song which is sung
while dancing ; the " Copla " has only four verses and
one refrain. The Fandango is a dance of slow movement,
in 6 1 8 time. It is performed by two persons who follow
the music in their movements with the greatest strictness.
But in the Fandango all is life and action. At first,
tender, soft, and devoted, as it proceeds it becomes more
passionate, even to the extreme of southern fire. Similar
dances are the Tirana, originating in Andalusia, and the
Jota Arrragonesa, which is performed by three people.

The Bolero, from the verb " Volar" or from the Spanish
" Volero," to fly; is said to have been invented in 1780,
by Don Sebastian Zerego. The Bolero consists of several
parts — the paso or promenade, the traversias or change
of places, and the finale. The music is either in 2I4 or

THE MONTHLY MUSICAL RECORD.

[June i, 1871.

3 1 4 time. When sung as well as danced they are called
" Seguidillas Boleras."

The world-wide known Cachucha is not an original
Spanish dance, but was invented by the famous Fanny
Elssler, and was first introduced by her in the ballet of
"Le Diable Boiteux." The word Cachucha has no
existence in the Spanish Dictionary, but Blasis says that
the Spaniards apply it to anything that is beautiful, while
in the dialect of the Andalusian Gypsies "Cachucha"
means gold. In poetry it means that part of the quiver
in which the god Amor keeps his arrows. The dances
Guaracha, Yalex de Xeres, Madrilena and Japateado are
also not historical.

Of Italian dances, the Tarantella, Saltarello, and
Siciliano are particularly well known, as all three have
been successfully introduced in instrumental music by
the best composers. There are two kinds of Tarantella,
the Roman and the Neapolitan. An air which is extant
of a Roman Tarantella, of the year 1654, is in common
time, and bears no resemblance to our modern dance of
the same name, which was invented much later in the
province of Tarento or in Naples. It is therefore a
deplorable anachronism of English music-sellers to
publish a prelude and fugue of Sebastian Bach with the
addendum of " alia Tarantella." Sebastian Bach knew
nothing of this dance. The Neapolitan Tarantella is
accompanied with the tambourin and castagnettes.

The popular dance of the Romans is the Saltarello, of
which the melody is in 2I4 time. The lady holds her
her apron with one hand while the gentleman plays the
guitar. The most antique of the three Italian dances is
the Siciliano, it is of slower movement than those before
described, and is much in vogue among Sicilian peasants.
France has furnished an important contingent of dances.
Among the oldest are the Passepied, in 3I4 or 3 18 time,
and the Bourre"e imported from Biscay. The " pas de
boiirre"e " were short and cheerful, and were afterwards
adopted in the Allemande, the Anglaise, and the Ecossaise,
where they were called "pas de fleuret." Further there
were the Tambourin and Rigaudon, dances of Provence,
and the Gavotte, which was much esteemed by the in-
habitants of the Dauphine". Besides the "profane dances,"
the so-called " sacred dances " were much in fashion in
the beginning of the 16th century. In 1667 they were
forbidden by Parliament. These sacred dances were the
occasion of the publication of a very interesting work on
the subject, written in 1588 by Jean Tabouret, with the
title of " Orchesography."

Merely naming the Loure and the pastoral Musettes, we
come now to the most interesting, graceful, and important
of all dances, the Menuet, or, as it is known in England,
the Minuet. It is said to have been invented by a dan-
cing-master of Poitiers, the capital of the province Poitou.
How old the Minuet is, will be seen from the fact of Don
Juan of Austria, Viceroy of the Netherlands, having gone
irom Brussels to Paris, to see Marguerite de Valois, who
was famed for being the best minuet-dancer of her time.
The name is believed to have been derived from " menu"
—Latin "minutus," small, neat. The Minuet was held in
such high esteem that at least three months were em-
ployed in learning it, a period of time, in our days, in
which a dancing-master would be expected to teach a
young lady all the fashionable dances. To dance a
Minuet in anything like perfection, must have been
a difficult task, but our ancestors must have bestowed a
care upon it very different in the result to the ungraceful
way a Minuet, when attempted, is now-a-days walked.

In music, the first really good Minuet we possess is by
Lully ; it was composed by him in 1663, expressly for
Louis XIV., who danced it with the ladies of his Court

at Versailles. It is a stately, quaint air in D minor. The
Minuet was Italianised by Boccherini, and Germanised
by Haydn and Mozart, but with all it retained a dignified
and solemn character. But it was not only adopted by
Italy and Germany, Bohemia, after a time, had a " Staro-
cesky Minet," and with some alteration we find in Scot-
land, the " Strathspey." The Minuet was modified in
many different ways ; in 1707, they had the " Menuet a
questre;" in 1715, the "Menuet d'Espagne ;" in the
course of change of fashion, came the " Menuet en six,"
" en huit," and then the " Menuet de la Cour." The most
beautiful, but most difficult, was the " Menuet de la
Reine," which was invented by Gardel for the nuptials of
Louis XVI. and Marie Antoinette. The Courante may
be assumed to have been the first regular dance in which
all the company engaged ; owing to its gravity it was
called "La Danse des Docteurs!" La Quadrille is a
variation of the English " Colonne-danse," better known
as " Country-dance," Gallicised into " Contre-danse." The
Country-dance was introduced into France by an English
dancing-master about 17 10. But not until Rameau
introduced, in 1745, a Contre-danse in his Ballet of " Les
Fetes de Polymaie," was this dance accredited in France
with value. The Galop and Valse were transplanted
from Germany into France. It is certainly remarkable
that serious Germany should have sent the vivacious
Galop to France, and that vivacious France should have
sent the serious Minuet to Germany.

Such old German dances as the St. Veitstanz, Hupf-
auf, Ringelrey, &c, can be well passed over. The
Fackeltanz, which Meyerbeer has lately brought again
into notice, is described at full length in books dated
1700, 1706, and 1708. The old German dances were by
no means so varied and artistic as the French and
Spanish ; in Chapman's play of " Alphonsus, Emperor of
Germany," it is said —

" We Germans have no changes in our dances ;
An Al-main and an Up-spring, that is all."

The Allemande, which was adopted by the French, is the
original of the modern waltz ; and the Suabian, Styrian,
Landler, or Deutscher, is merely a variation of it. The
different Alpine countries, Styria, the Tyrol, and Bavaria,
have had their peasant dances, each with a different
name, but all more or less resembling the waltz. At
different historical periods dances have been expressive
of their epoch ; in the beginning of the 18th century, they
were characterised by a certain dignity, while the humours
of pastoral life, and finessing of the ball-room, were pre-
sented in the Sarabandes and Gavottes of the time.

Weber's "Invitation a la Danse" brought about a
revolution. In this immortal work fire and energy, with
a spice of sentiment and coquetry, are combined. Strauss,
and Lanner infused the waltz with good-natured Austrian
character ; and with the perfected brass instruments France
and Austria contributed for its performance, to hear their
productions played by a full band in Vienna was indeed
a genuine irresistible treat.

The now universally-known polka was invented in 1830
by a Bohemian girl, Anna Slezak : no modern dance has
had such popularity. As the English and Scotch dances
have not been artistically treated in pianoforte music, we
will pass them over. But the Polonaise or Polacca, and
Mazurek or Mazurka, have much influenced composers.
To state when these Polish dances were invented is not
possible. In reference to the Polonaise, it may be men-
tioned that in the country of its origin it was performed
in strict accordance with rules and figures — very different
to the comfortable walking way it is gone through when
danced in this country. The Polonaise has beeil refined

June I, 1871.]

THE MONTHLY MUSICAL RECORD.

upon by Beethoven, Hummel, Weber, and other of our
best composers ; the Mazurka by Chopin, and latterly by
Schulhoff. The " Rondo alia Mazurka," by Chopin, is in
its way a masterpiece, not less in importance than the
Polonaise in the Trio-Concert (Op. 56) of Beethoven, and
the celebrated Polonaise in Spohr's opera of " Faust."

The Russian and Hungarian dances have been very
rarely introduced in compositions of any value. Any one
desirous of further information on this important subject
may read Albert Czerwinski's " Geschichte der Tanz-
kunst," Forkel's " History of Music," and also an old
English book entitled " The Dancing Master ; or, Direc-
tions for Dancing Country Dances, with the tunes for
each Dance, for the Treble Violin. 16th Edition. Lon-
don, 1716." E. P R.

THE OPENING OF THE INTERNATIONAL
EXHIBITION.

As mentioned in our last Number, what is intended to be
the first of an annual series of International Exhibitions
was opened on the 1st of May. With the details of the
ceremony our readers will doubtless be, long ere this
article reaches them, familiar from other sources ; and
labouring as we do under the disadvantage, inseparable
from a monthly journal, of being often much after date in
our notices, we should have omitted to mention the event
at all in this Number, had it not been for the special musical
interest attached to it as an " Exhibition of Musical Art."
After the preliminary presentations, procession, &c, had
been gone through, the musical performances took place
in the Albert Hall. The opening piece was the overture
to Der Freischiitz, performed with great spirit by the band
under the direction of Sir Michael Costa. To this suc-
ceeded the four works specially composed for the occasion,
each of which was conducted by its composer. First in
order was a chorale by Chevalier Pinsuti, for unaccom-
panied choir, the words of which were written by Lord
Houghton. The composition differs in no material respect
from hundreds of other part-songs ; and if intended to give
an idea of the present state of Italian music, which may be
characterised as mild, was well adapted to its purpose.
It created but little effect. The piece which followed — a
sacred cantata by M. Gounod, entitled "Gallia" — was a
work of far higher order. As appropriate to the present
state of his distracted country, the composer has selected
a series of passages from the book of Lamentations, the
Latin version being that which he has used. The work is
in four movements, for soprano solo, chorus, orchestra, and
organ. The opening chorus in E minor, " Quomodo sedet
sola civitas," is almost funereal in its solemnity ; and a
similar character predominates throughout the two follow-
ing movements, in which the solo voice is introduced
alternately, and in conjunction with the chorus. But at the
last movement, "Jerusalem convertere ad- Dominum," a
change to E major is introduced, and a climax of almost
overpowering effect follows, marked alike by breadth of
effect and richness of orchestration. We are inclined to
consider this the most successful sacred work of M.
Gounod that we have met with. It was not unworthy of
the occasion, and produced a great impression — the com-
poser being enthusiastically recalled after leaving the
orchestra. We must not omit to say that the solo part
was sung by Madame Conneau, a French amateur, we
believe.

German music was next represented by a spirited March,
in D major, composed and conducted by Dr. Ferdinand
Hiller. Though containing little or nothing that is
absolutely new, this work is constructed with such perfect
clearness of form, and instrumented with such entire

command over the resources of the orchestra, that its
effect was thoroughly satisfactory. Dr. Hiller, as our
readers are aware, is one of the most skilful and conscien-
tious of living musicians, and probably no better repre-
sentative of the music of his country could have been
found.

On Mr. Arthur Sullivan, as the most prominent as well
as the most promising of the rising generation of English
musicians, devolved the arduous task of sustaining the
reputation of his country ; and we are happy to say that
his cantata, On Shore and Sea, was by no means the least
successful item of this most interesting concert. While we
are at a loss to perceive the suitableness of an Italian
subject of the sixteenth century, or why Mr. Sullivan
might not just as appropriately have set, let us say,
the Ten Commandments, it is only just to add that the
music is throughout characteristic, abounding in melody,
thoroughly well written, and admirably scored. As the
work will probably be heard elsewhere, we will defer a
detailed notice of it to some future occasion. The solo
parts were excellently sung by Madame Sherrington and
Mr. Winn, and the reception of the whole cantata was
most hearty. The overture to Semiramide, and the
" National Anthem " (both conducted by Sir Michael
Costa), brought this most interesting concert to a close.

AUBER.

The death of Daniel Franqois Esprit Auber, at the patri-
archal age of eighty-nine, leaves a gap in the musical
world that is not likely to be soon filled. Of the four great
operatic composers of the present generation, but one —
Verdi — now survives. Meyerbeer, Rossini, and Auber
have all passed from our midst. Though several of the
great musicians have lived to an advanced age — among
whom we may name Handel, Haydn, Spohr, Cherubini,
and Rossini, all of whom passed the allotted " threescore
years and ten" — none has attained to the age of the com-
poser of Masaniello. He was born at Caen, in 1782 —
some authorities say 1784, but we believe the former date
is the correct one — of parents in good circumstances, and
was destined by them for a mercantile life. But for this
he felt no vocation ; music was his great pleasure ; and
when his parents, during the revolutionary troubles, lost
their property, he determined to devote himself to his
favourite art. For this purpose he placed himself under
Cherubini's tuition, having previously made several essays
in composition, such as romances, trios, concertos for the
violoncello, &c. His first work after completing his
studies was a mass, a portion of which he subsequently
introduced into Masaniello. In 1 813 he produced his first
opera, Le Sejour Mililaire, in one act, which was unsuc-
cessful. His second dramatic essay, Le Testament et les
Billets-doux, shared the fate of the first ; but his following
operas, La Bcrgere Chatelaine (1820) and Emma (1 821), in
which his style was more formed and his originality more
developed, proved more to the taste of the public. The
first and best of his grand operas, Masaniello {La
Muette de Portici), was produced in 1828, and the scarcely
less successful Fra Diavolo in 1830. Among the best of
his subsequent works may be named Le Domino Noir and
Les Diamans de la Couronne. In 1862 Auber composed
an Overture (sometimes incorrectly called a March) for
the opening of the International Exhibition held that year
in London. This well-known work displays all its com-
poser's salient characteristics— pleasing melody, piquant
rhythm, and charming orchestration— in a high degree ;
and the same may be said of his last opera, Le Premier
Jour de Bonheur, composed as recently as 1868. Through-

THE MONTHLY MUSICAL RECORD.

[June I, t8ji.

out the recent troubles in Paris, he remained in his
favourite city, and there he breathed his last.

The complete list of his operas, not including those
which he wrote in conjunction with others, is as follows :
Le Sejour Militaire (1813), Le Testament ct les Billets-
doux (1819), La Bergere Chatelaine (1820), Emma (1821),
Leicester (1822), La Neige (1823), Le Concert a. la Cour
(1824), .Leocadie (1824), LeMaqon (1825), Le Timide (1826),
Fiorella (1826), La Muette de Portici (1828), La Fiancee
(1829), Fra Diavolo (1830), Le Dieu et la Bayadere (1830),
Le Philtre (1831), Le Serment (1832), Gustave (1833),
Lestoc'q (1834), Le Cheval de Bronze (1835), Actcon (1836),
L'Ambassadrice (1836), Le Domino Noir (1837), Le Lac
des Fees (1839), Zanetta (1840), Les Diamans de la Cour-
onne (1841), Le Due d^Olonne (1842), La Part du Diable
(1843), La Sirene (1844), La Barcarolle (1845), Haydee
(1847), F Enfant prodigue (1850), Zerline (1851), Marco
Spada (i85'2), Jenny Bell (1855), Manon Lescaut (1856),
La Circassienne (1861), La Fiancee du Roide Garde (1 864),
Le Premier Jour de Bonhetir ('1868).

In estimating Auber's position among composers, it is
most important to bear in mind that he is above every-
thing French. Those who would measure him by com-
paring him with the great German masters, regard him
from a point of view which not only does him an injustice,
but renders themselves incapable of appreciating his ex-
cellences. He is as much the incarnation of French
music as Weber, in the Freischutz, is of that of Germany.
His compositions have the sparkling vivacity and the
esprit (we are forced to use the French word for want of
a suitable English equivalent) so characteristic of his
nation. Depth of expression and sentiment is not his
forte j hence, in spite of the great beauties of his Masani-
ello, we must say that comedy is the line in which he most
excelled. Here his abundant melody, marked rhythm,
and piquant instrumentation, are displayed to the best
advantage. His comic operas may perhaps be not inap-
propriately described as "musical champagne" — delicious
and exhilarating, though without much " body ; " and it
will be long, we think, before such works as Fra Diavolo
and L^e Domino Noir are banished from the stage. By
his death France has lost her most brilliant musical star ;
and among French composers of the first rank he will
ever hold a prominent place.

SIGISMUND THALBERG.
THIS great, and in his own style unrivalled pianist, who
died at Naples on the 26th of April last, was born at
Geneva on the 7th of January, 181 2. He was a natural
son of the Austrian Count Dietrichstein. At a very early
age he came to Vienna, and received his first instruction
on the piano from an obscure teacher in the city. Sub-
sequently he was placed under Hummel, and he also
studied the theory of music with Sechter. While still a
boy he began to excite attention as a pianist, and in the
sixteenth year of his age his first compositions appeared
in print. In 1830 he made his first artistic tour through
various German towns ; he was appointed pianist to the
Emperor of Austria in 1834; and the following year he
went to Paris. Here he established his reputation, not,
however, without a rival, as Franz Liszt was at the same
time astonishing the musical world with his wonderful
playing ; and each of the artists had his party. Till 1837
Thalberg remained in Paris ; he then returned to Vienna,
gave concerts the following year in Germany, England,
the Netherlands, and Russia, and subsequently visited
Italy. In 1855 he went to Brazil, returned in 1856, and
passed the summer of that year in Paris ; he again crossed

the Atlantic in the following autumn, his destination this
time being the United States. The brilliant success of
his visit induced him to protract it till 1858, when he re-
turned to Europs, and lived for some time in retirement
on his property in the neighbourhood of Naples. In 1862
he again came before the public, giving concerts in Paris
and London ; and in 1863 he visited Brazil for the second
time. From that date up to the time of his death he lived
on his own estate, devoting himself chiefly to vine culti-
vation. He married a daughter of the eminent singer
Lablache. His compositions, with the exception of two
operas, Florinda and Cristina di Suezia (neither of which
were successful), and a few songs, consist entirely of pieces
written for his instrument. His playing was distinguished
by the most perfect finish of execution, but above all by a
power of singing on the piano in which very few have
approached him. He played comparatively little except
his own music, but in the performance of that he was
unequalled. Of his general influence on his art we have
spoken elsewhere.

BEETHOVEN'S TRIO, Op. 97.

BY LIEUT. H. W. L. HIME, ROYAL ARTILLERY.

The five movements of Beethoven's trio, Op. 97, are
the five acts of a tragedy, of the meaning of which there
can be no doubt, as the composer himself explained it
shortly before his death. In one of his sublimest moods,
Beethoven took for his subject the overthrow of a virtuous
man by adverse Fate.

The first of the five movements is an allegro, joyous but
subdued, — Job feasting with his sons, but ever mindful to
sanctify himself when the days of feasting are over. We
are carried down a smooth gay stream of harmony, and
the sounds we hear are those of sober joy, not riotous
mirth. Following the allegro comes the scherzo, gayer
and more sparkling still, where all goes " merry as a
marriage-bell," and the melody bounds forward, " like
childhood, laughing as it goes." Suddenly a deep sound
strikes like a rising knell, and the trio, into which the
scherzo glides like a murmuring rivulet merging into some
hoarse torrent, mutters indistinct warning of approaching
calamity. The warning is disregarded — it was but the
wind soughing through the leaves, the waves breaking on
the shore. On with the dance ! The feast is renewed, the
scherzo is repeated.

" But hark ! that heavy sound breaks in once more,
And nearer, clearer, deadlier than before."

The Ides of March approach — again we hear the trio —
and the notes of the violoncello, sinking lower and deeper,
" with hollow harmony, dark and profound," presage a
woe that is to come quickly.

At length the supreme hour arrives, and the unequal
struggle is over. Unrelenting Fate overtakes the virtuous
and the just, angels waft the spotless soul of a hero where
the wicked cease from troubling. and the weary are at rest,
and his dirge is sung in strains of heavenly music. Whether
we regard the melody of this movement in itself, or the
wondrous skill with which the melody is varied and
transformed, the andante remains for ever a surpassing
triumph of genius. Like fitful gusts of wind this burst of
lamentation rises and falls, passes from us and returns
again, swells and dies away. We sit, we -must sit motion-
less and silent before this grief, for it is very great.

"Art and eloquence,
And all the shows o' the world, are frail and vain
To weep a loss that turns their lights to shade.
It is a woe " too deep for tears" when all
Is reft at once, when some surpassing spirit,

June I, 1871.]

THE MONTHLY MUSICAL RECORD.

Whose light adorned the world around it, leaves
Those who remain behind, not sobs or groans,
The passionate tumult of a clinging hope —
Eut pale despair and cold tranquillity,
Nature's vast frame, the web of human things,
Birth and the grave, that are not as they were."

But let the dead bury their dead. Be he peer or peasant,
the world rolls on oblivious of the individual, and Nature,
though she regards the All, disregards the One—

" So careful of the type she seems,
So careless of the single life."

And so, by a daring stroke, Beethoven makes an abrupt
transition from the key of D natural to the key of B flat,
and transmutes the andante into a trivial, commonplace
air, the humdrum of every-day life, the song of the uncon-
cerned traveller, as he passes by the house where the
master lies dead, and all within is mourning. If Time
brought to the making of man a gift of tears, Grief bore
a glass that ran. We must forget our grief, we must be-
take ourselves to the ordinary duties of life, and remand
our sorrow

to memory's darkest hold,

If not to be forgotten — not at once —
Not all forgotten."

Yet who can

" minister to a mind diseased ;

Pluck from the memory a rooted sorrow ;
Raze out the written troubles of the brain ;
And, with some sweet oblivious antidote,
Cleanse the stuff' d bosom of that perilous stuft
Which weighs upon the heart?"

In heaven, which is our home, all tears shall be wiped
away from our eyes, and there shall be no more death,
neither sorrow nor crying. But in this life of error, ignor-
ance, and strife, Duty cannot always overcome Love ;
tears will gush forth betimes ; and our secret grief may
rise up in the silence of the night from the grave in which we
have buried it, deep, deep. These things being so, Beeth-
oven's great Tragedy fitly ends in a despairing presto
movement, that cries with a great and exceeding bitter
cry —

" O for the touch of a vanished hand,

And the sound of a voice that is still!"

jforefgn Ccrrospoitireme.

— ♦ —

MUSIC IN NORTH GERMANY.
(from our special correspondent.)

Leipzig, May, 1871.

Richard Wagner stayed a few days with us on his
journey to Berlin. Our hopes to hear one or some of his
operas here under his direction were not, however, fulfilled.
Only on the 21st of April Wagner appeared at a rehearsal
in the theatre, to hear his " Kaiser" March. The repetition
of this work he directed himself, with his usual fire and
energy. The march is nothing more or less than an
occasional work speaking for itself, in which the means of
an orchestra are used with excellent skill, but which does
not own any really impulsive theme, characteristic ideas,
or vigorous rhythm.

On the 6th of April, in solemn meeting, the annual
distribution of prizes at the Conservatorium of Music to
the best pupils took place. The laureates were Messrs.
Carl Philipp Ludwig Maas, from London ; Paul Fried-
rich Moritz Klengel, from Leipzig ; Joseph Sautier,
from Freiburg in Brisgau ; Wilhelm Ferdinand Grau,
from Cassel ; Alexander Kurmner, from Dresden ; Wil-

helm Hermann Carl von Kaulbars, from St. Petersburg ;
and Madame Laura Amelia Asham, from New York.

Of the gentlemen named, the following gave an ex-
cellent proof of much promising talent in the three public
trial concerts of the pupils of the Conservatorium, which
took place on the 1st, 6th, and 1 ith of May : Herr Ludwig
Maas, from London, by the performance of the second
and third movements of the E minor concerto by Chopin ;
Herr Paul Klengel, from Leipzig, by performing Spohr's
D minor concerto (first movement) ; and Herr Sautier, by
the very successful rendering of Liszt's piano arrangement
of the organ fugue in a minor by Bach.

At these trial concerts we also point out, as a very
excellent performance, the rendering of Schumann's piano
concerto (second and third movements), by Herr Jacob
Kwast, from Dordrecht (Holland). Also Herr Kummer,
from Dresden, and Herr Edouard Goldstein, from Odessa,
showed in their performances already a great degree of
artistic ripeness. Herr Kummer played the second and
third movements of Beethoven's violin concerto with
excellent tone, certain mechanism, and musical under-
standing. Herr Goldstein played the second and third
movements of Beethoven's' E flat concerto with full,
powerful touch, artistic certainty, and good expression.

By all the performances of the pupils was shown the
earnestness of truly pure artistic aspiration, which does
great honour both to the masters and pupils of the insti-
tute. The steady increase of pupils of the Conservatorium
which has taken place for years, has made it necessary to
enlarge the staff of teachers. For instrumentation and
orchestral composition, harmony and counterpoint, Herr
Musikdirektor S. Jadassohn has been appointed, and lor
harmony and pianoforte, Herr Dr. Kretschmar. Herr
Jadassohn, known as director of the Euterpe Concerts,
as well as composer of numerous choral and orchestral
works (symphonies, overtures), has entered his post on
the 15th of May.

The Opera brought, besides repetitions of Wagner's
Operas Meister singer and Lohengrin, the Vampyr by
Marschner, and J'iidin by Halevy. The title-role in
Vampyr is not particularly suitable to the individuality of
our in other respects highly distinguished baritone, Gura.
His voice, full and soft, rather of a lyrical, elegiac nature,
cannot produce the whole glowing infernal effect, as
Marschner desires it. Very excellent was the performance
of the Ji'tdin.

Our Opera will now have to do without its brightest
star for some months. Frau Dr. Peschka-Leutner will
commence her holidays, which will last pretty well the
whole of the summer. Also Herr Gura will, in all proba-
bility, leave the house soon. How and in what manner
the direction of the theatre will fill up these gaps, we are
not yet able to say. We believe we may at first expect to
have a series of more or less interesting performances
of visiting artistes.

Frau Peschka has, on the 14th of April, assisted at
a concert in Berlin, for the benefit of the Augusta Hospital.
She sung the first air of the " Queen of the Night " from
the Zaiiberfiote, and Adams' Variations, " Ah, vous dirai-je,
Maman." With rare unanimity the Berlin critics pay
the highest praise to this truly excellent singer.

The opera Frithjof, by Bernhard Hoppfer, has, in the
second week of April, been performed for the first time at
the Royal Opera House in Berlin. Praised is the certainty
of the composer in making use of the technical means of
the art. The work has met with a favourable and honour-
able reception by the public and the critics ; but of
frequent repetitions, the true tests of fitness of life of an
opera, we have as yet heard nothing.

Richard Wagner gave, on the 5th of May, a grand con-

THE MONTHLY MUSICAL RECORD.

[June I, 1871.

cert at the Opera House in Berlin, and was received with
enthusiastic rejoicings ; with marks of honour of every
description, laurel wreaths and bouquets, he was, so to
say, overloaded. The whole of the Court was present.
The performers were an orchestra of 120 musicians, and
the theatre chorus, swelled by the members of Stern's
Singakademie. As soloists, assisted the ladies, Von
Voggenhuber and Brandt, and Messrs. Beetz, Frieke,
Schelper, and Wowarsky. The concert was opened
with the Kaiser March, which had to be repeated
at the end to satisfy the wishes expressed from all
sides. Then followed Beethoven's C minor symphony
the prelude to Lohengrin, the last scene from Walkure,
Wotans Abschied, sung by Herr Beetz, and the finale
of the first act of Lohengrin, The rendering of all these
works under the direction of Richard Wagner is praised
as very excellent.

In Bremen, at the ninth private concert, the third, well
known as the finest, part of Schumann's Music to Faust,
was performed, with the assistance of the famous bari-
tone, Stagemann. Considering the great difficulties
which the performance of this work offers, we can only
give it high praise, if concert institutes endeavour to
render this deep, beautiful work full of thought, which
even in Germany has not yet found the general propaga-
tion it deserves.

At Dresden, Riedel's Society, from Leipzig, gave a con-
cert for a charitable purpose, and the performances of
this excellent chorus and its director have also met there
with recognition on all sides.

At Hamburgh the Philharmonic Concerts finished their
annual cyclus with a concert, which gained a particu-
larly festive importance through the presence of the
Leipzig Gewandhaus Kapellmeister Carl Reinecke. Herr
Reinecke directed his Frieden's-Feier Overture and the C
minor symphony by Beethoven, and played Mozart's
D major concerto in his well-known truly classical style.
Loud acclamation and recall made it known to the ex-
cellent artist how well he was appreciated as composer,
director, and pianist.

MUSIC IN VIENNA.

(FROM OUR SPECIAL CORRESPONDENT.)

Vienna, 15//* May, 1871.

The last weeks of our season brought out some more
concerts worth mentioning. The most interesting evening
has been the third concert of the Singakademie. The
first part, containing only Schubert, began with his
"Gebet" (Du Urquell aller Giite), Op. 139; after this
well-known beautiful composition were produced some
smaller works, never performed before — that is, two little
songs from the Witteczek collection ; a cantata, written
in honour of the famous singer, Vogl, Schubert's friend ;
and three Clavierstiicke, one an allegro vivace, recently
published by Rieter-Biedermann. On the whole, these
compositions are more fit to be heard in private circles.
Time is money — that is, it is precious— and so it would
have been better this time to have spent the whole
evening for the " new " oratorio, L! Allegro edil Pensieroso,
instead of omitting ten numbers and shortening a good
deal of the rest. But in any case we had to be thankful
also for what was offered. It is in a short time the third
oratorio by Handel, whose acquaintance we owe to that
society. As Acts and Galatea, so was also L' Allegro first
produced with accompaniment of the piano, the solos
being in proper hands. Two years ago Mdlle. Enequist
sang the air, " Sweet Bird," in one of the Gesellschafts-
concerts ; that was all that Vienna had heard till now of

this oratorio. I remember to have assisted at a perform-
ance in St. James's Hall ; Herr Otto Goldschmidt con-
ducted, and Mdme. Lind-Goldschmidt sang the soprano
part. To be just, I found that the whole audience looked
on it as a novelty, being the result of the never-ending
repetitions of always the same oratorios. Where are
Deborah, Semele, Salomon, Jephtha, Athalia, Esther,
Belshazzar, Joseph, Susanna, Theodora, Hercules, Joshua?
— are they not worthy to be produced ? This by-the-by.
To return to the actual representation : it was a treat to
hear that fresh and vigorous composition, and to see at
the same time how well it was appreciated. The numbers
which made a particular impression were the chorus,
" Haste thee. Nymph ;" the airs, " Sweet Bird," " Oft on
a plot of rising ground ;" air and chorus, " Or let the
merry bells ring round." Of the second part about two-
thirds were omitted. The last three numbers, beginning
from "There let the pealing organ blow," were of really
great effect — the chorus full of grandeur. By so many
abridgments the whole performance looked more like a
successful experiment, which, I trust, will lead to an
execution of the whole work, and with orchestra. The
last Gesellschafts-Abend of the Orchesterverein was again
a feast for the musical friends. Suffice it to give the
programme itself : Overture, A Iceste, by Gluck ; concerto
in G minor by Handel, arranged for violoncello with
orchestra (Herr Rover) ; concerto in F major, for piano
and two flutes concertante, by Bach (Herr Epstein) ;
Lieder Cyclus, " An die feme Geliebte," by Beethoven ;
three songs (" Erlkonig," " Lindenbaum," by Schubert,
" Friihlingsnacht," by Schumann), and one of the Salomon
symphonies by Haydn. Herr Hill from Schwerin, who
was so famous in the Creation and Matth'aus-Passion,
proved himself also an excellent Lieder-sanger. The Con-
servatoire arranged an opera evening — that is, scenes
from the operas, Nachtlager in Granada, Lucia, and
Figaro's Hochzeit (first act). The little theatre which
was erected in the concert-room looked pretty, and the
whole performance gave credit to the studies of the pupils
in that branch. It is said that in future this institute will
be supported by the government with ten thousand florins
a year, instead of three thousand (the similar institute in
Prague, with five thousand). Hellmesberger gave his two
last quartett-soire'es, which this winter came out very
irregularly. It is to be hoped that the evenings once so
famous will maintain their reputation. Herr Debrois van
Bruyck, a scientific writer on music, gave two concerts to
produce some of his last compositions. The numbers in
which he excelled most were a series of songs from
Hariri-Ruckert's " Makamen," in which particularly he
took as models the compositions of Tomaschek and Lowe.
Herr Popper, member of the orchestra of the Opera, gave
a concert, in which he performed two concertos for violon-
cello by Ekert and by Servais, and a sonata by Corelli.
He is a richly-gifted artist, and may be ranked at the
same value as Signor Piatti. A very successful concert
was that of Robert Heckmann, concertmeister from
Leipzig. His tone is brilliant, the intonation faultless, the
technical execution and rendering of the different styles
deserves the highest praise. He played prelude and
fugue in G minor by Bach, a sonata by Handel, fantasia
by E. Stockhausen, and joined in Schumann's trio in D
minor for piano (piano and violoncello well performed by
Professor Door and L. Spitzer). The audience spent much
applause, and left the room very satisfied. I think we
shall hear again of this talented artist.

To give an account of the Opera is to give a list of
visitors in a grand hotel. We count about thirty Gastspiele
in the space of a month. The most trouble is caused by the
tenor roles. Herr Walter is travelling in the German

June i, 1871.]

THE MONTHLY MUSICAL RECORD.

Empire ; Labatt became suddenly ill, recovered, but
must be spared for Rienzi; the whole burden lay, there-
fore, on the shoulders of Miiller and Adams, the latter
still figuring as guest. Meantime Herr Sontheim from
Stuttgart arrived, and after paying his tribute to the
Vienna climate, he commenced a short'series of represen-
tations with Eleazar, his favourite role. He received
much applause, and his appearance filled the theatre ; but
it cannot be denied that he had to struggle with the
immense space of the house, which discovered more than
ever his principal evil — a short breath. Of the whole
number of guests Mdlle. Emmy Zimmermann, from
Dresden, was the most fortunate ; she sang with great
effect the roles of Elsa, Margarethe, Alice, Senta. Her
voice is a soprano of charming euphony ; method, intona-
tion, pronunciation leave nothing to desire ; her per-
sonality, also, is very favourable for the stage. Herr Hill
was as Figaro (in Mozart's opera) and Valentin not so
fortunate as before, but as Jacob, in Mehul's Josef, he was
again the accomplished artist. Herr Schroter, from
Schwerin, was expressly invited to sing Rienzi, but after
having performed Josef, his voice being agreeable but
small, he found it better to renounce the honour of repre-
senting the role of a hero, and so he returned home.
Rienzi, our sea-serpent, is now fixed for the 25th of this
month, with Labatt in the title-role. The ladies, Therese
Singer and Elise Loffler, both from Wiesbaden, and
Johanna Trousil, were only of ephemeral interest. Frl.
Singer has much talent, but wants cultivation; Frl.
Loftier had once a good voice, now being ruined by a bad
method. Herr Adams shows in every role the con-
scientious artist ; unfortunately his unsympathetic voice
cannot follow his good intentions. Nevertheless, he had
many good moments as Lohengrin, Faust, Prophet, and
Raoul. The programme of the Opera from the 15th of
March to the middle of April shows twenty-five evenings,
with eleven composers, and nineteen different operas
— Masaniello, Lohengrin, Tell, Fliegende Hollander,
Jtidin, Preischutz (each twice), Postilion, Don Juan,
Zauberflote, Figaro's Hochzeit, Faust, Robert, Prophet,
Hugenotten, Afrikanerin, Fra Diavolo, Masaniello,
Maskenball, Troubadour, Josef und seine Brilder (each
once).

Meantime we have also a short series of Italian operas,
a diminutive Italian " season " in the Theater an der
Wien. The impresario Sig. Pollini and his company,
with Mdme. Desiree-Artot, Signori de Padilla, Minetti,
Ronconi, Bossi, performed the operas 77 Barbiere di
Siviglia, Don Pasquale, La Figlia del Reggimento. The
first one was repeated twice, and particularly well repre-
sented by Artot (Rosina), De Padilla (Figaro), Ronconi
(Basilio). This opera was not heard since the year 1866,
when it was performed in the Karnthnerthor-Theater, with
Artot, Everardi, Calzolari, Zucchini. Voice and verve of
Mdme. Artot have, if possible, still gained ; she sang as
an interpolated song a Mandolinata by Palladihle, which
pleased much, and " II piacere " by Balfe. L'Elisir
d'amore and La Traviata will be performed these days,
and then the Italian dream is over.

The death of Sir John Herschel makes me remember a
notice of Haydn in his Diary, where he gives a description
of his visit on the 15th of June, to William Herschel, in
Slough, when he says expressly : "His wife, of forty-five
years, delivered him this year, 1792, a son. This son,
the only one, born on the 7th of March, was then
three months old when Haydn stood at his cradle."
(Vide" Mozart and Haydn," by C. F. Pohl, II., pp. 206
and 363, where a poem is copied, "Address to the
Star," probably the only one which Herschel has ever
published.)

afabfetosf*

Salve Regina. For Chorus and Solo Voices, with accompaniment
of Stringed Orchestra and Organ (or Oboes and Bassoons).
Composed by Joseph Haydn. Full Score and Vocal Score.
Leipzig : J. Rieter-Biedermann.

With respect to the origin and history of this interesting composi-
tion, we are unable to give our readers any information. A pre-
fatory note, giving an account of the source from whence the
work was obtained, would have been welcome ; but as none such
is afforded by the publisher, we must await the publication of Herr
Pohl's forthcoming work on Haydn, which will probably elucidate
the matter. Judging from the music itself, we are inclined to con-
sider it rather an early work. It much resembles in style its com-
poser's Stabat Mater, and is more in the somewhat antiquated style
of the Italian church writers of the last century, than in the lighter
manner which we are accustomed to look on as the characteristic of
Haydn's ecclesiastical music. The organ part is somewhat peculiar
in its treatment. The instrument is used throughout, not in sus-
tained harmony, but in solo passages, such as are to be found in
the slow movements of Mozart's pianoforte concertos. A similar
employment of the instrument is to be met with in some parts of
Haydn's little-known Mass in E flat. The oboes and bassoons (as
explained in a foot-note) are simply intended as a substitute for the
organ when the latter is not obtainable. The opening movement of
this work is an adagio in G minor. After a symphony, in which
the chief prominence is given to the organ, the strings having little
but accompaniment, the solo quartett enters, with a most novel
and unexpected effect on the chord of E flat, instead of G minor.
The voices in this opening quartett are accompanied merely by the
strings, the organ entering with short "interludes " between each of
the vocal phrases. At the thirty-third bar, the chorus enters for the
first time with the word " Salve" on the chord of E flat— the effect
of the chord on its repetition being no less striking than at its first
appearance. A charmingly melodious passage in B fiat follows at
the words: "Vita, dulcedo, et spes nostra, salve." The interest
excited by the opening portion of this movement is fully maintained
to its close ; but we must forbear to dwell on all the details. A
very fine cadence for the chorus, piano, in E flat, leads to the follow-
ing movement, an allegro in C minor, " Eja ergo." Though inte-
resting, the music is perhaps less attractive than the preceding
adagio, being somewhat more antiquated in style. A short tenor
recitative, " Et Jesum benedictum," leads to the final chorus, "O
clemens, O pia," an allegretto in G minor, which opens abruptly
with the chord of the diminished seventh. The whole of this finale
is admirable ; the voice parts are full of melody, and the symphonies
for the organ abound in graceful ornament. The pianissimo close
in the major is most effective. We can cordially recommend the
whole piece to lovers of sacred music — the more readily as it will
probably give many a new idea as to the versatility of old " Papa
Haydn's" style.

Kaiser-Marsch, by Richard Wagner. Full Score.
Ditto, arranged as Piano Duet, by Hugo Ulrich.
Ditto, arranged as Piano Solo, by Hugo Ulrich. Leipzig : C. F.
Peters.

Any music that Richard Wagner writes is sure to possess a certain
amount of interest for musicians ; for however much opinions may
differ as to the value of his musical theories, or the rank to which he
is entitled as a composer, few will deny that he is a man of real
power, and an original thinker. That he is often eccentric, no one
will dispute ; that he is thoroughly in earnest, is, we think, equally
incontrovertible. The " Kaiser -marsch," written to celebrate
the recent German victories, is, it is to be presumed, in the com-
poser's latest style ; and after both studying the score carefully, and
hearing a very fine performance of the work at the Crystal Palace,
we are bound to record our conviction that it is not, as a whole,
successful. It is written for an enormous orchestra— the score being
on twenty-six staves — and the instruments of percussion are used
with such want of moderation, that in some places the noise is
almost intolerable. The march opens with a bold and broad
subject for the full orchestra, in B flat. After a vigorous passage
for the strings in unison, leading up to a tutti fortissimo and a
pause on the dominant seventh, the principal subsidiary subject is
introduced. The melody is given to the wood instruments, piano,
and in its general character somewhat resembles one of the chief
phrases in the march from Tannh&user. It is interrupted by the
first line of the well-known choral, " Ein feste Burg ," and from this
point Wagner seems to lose himself, and his music, so to speak,
"gets into a fog." For the next twenty pages of the score, there

THE MONTHLY MUSICAL RECORD.

[June I, 1871.

is nothing but confusion. There are beautiful snatches of melody,
but they are so interwoven one with another, and in some parts so
overloaded with accompaniment, that the effect in performance is
most unsatisfactory. Expectation is continually roused, and as
constantly disappointed. Towards the end of the march, however,
the music becomes more intelligible, and when the choral is intro-
duced for the last time, against a powerful counterpoint for the
strings in unison, the effect is really imposing. The march con-
cludes with a resumption of the opening theme, to which an ad
libitum chorus part is now added, intended to be sung by the
audience in unison, on special occasions. The great fault to be
found with the work is the want of clearness of form. The instru-
mentation is very brilliant, though, as already mentioned, in some
parts extremely noisy ; the ideas are original, and often striking ;
but the ineffectiveness of the march as a whole proves, what some
modern composers too often disregard, that nothing is to be gained,
but everything to be lost, by inattention to musical form. The
arrangements by Ulrich for the piano are (like all other arrange-
ments of his that we have seen) about as well done as is possible.
That for four hands gives a very good idea of the whole. The solo
arrangement is necessarily less effective.

Franz Schubert's Songs. Edited by E. PAUER. Book II. Winter
Journey (Die Winterreise). London : Augener & Co.

In the February number of the Record, we noticed the publica-
tion of the " Schcine Miillerin " of Schubert, in a new edition, under
the supervision of Herr Pauer. We are glad to announce the con-
tinuation of the series, by the issue of the perhaps less known, but
not less beautiful, "Winterreise." In its general character, this set
of songs is much more melancholy than the " Maid of the Mill " —
no less than fifteen out of the twenty-four numbers being in a minor
key ; but such is the exhaustless variety of melody and accompani-
ment, that no feeling of monotony is induced thereby. Among our
own special favourites we may mention the "Good Night" (Gute
Nacht), "The Linden Tree" (Der Lindenbaum), "Retrospect"
(Ruckblick), ' ' The Post" (Die Post)— probably the best known of the
series— "The Village" (Im Dorfe), and last, and perhaps best oi
all, "The Wayside Inn" (Das Wirthshaus), a song which nobody
but Schubert could have written. The adaptation to English words
is exceedingly well done, and particularly commendable for its
fidelity to the original German. We have only to add that the book
is a marvel of cheapness— the whole collection being published for
the ordinary price of a single song.

Trois Marches pur le Piano (1, Marcia giocosa; 2, Marcia
elegiaca; 3, Marcia scherzosa), par Ferdinand Hiller.
Op. 55. London : Augener & Co.

All Dr. Hiller's music for the piano which we have met with is
distinguished by the same general characteristics— clearness of idea,
good thematic treatment of his subjects, and a thorough knowledge
of his instrument. His invention is not on a par with his know-
ledge ; still, though his first thoughts are often slightly dry, the way
in which they are handled is always musicianly. Of these three
marches we like the third best. The second in its commencement
has a slight resemblance to Chopin's " Marche Funebre." Both the
first and third are decidedly out of the common " rut " of marches ;
and if it is considered how difficult it is to do anything really new in
this form, it is no slight credit to the composer to have avoided the
beaten track. As they are all tolerably easy, they will be found
very useful to teachers.

Dance Themes for the Pianoforte, by Fritz Spindler. Six num-
bers. London : Augener & Co.

Several of Herr Spindler's small pieces for the piano have
attained considerable popularity ; and these six little dance themes
will do no discredit to their author. They are all very simple and
unambitious ; they are each only two pages long ; and it is far
harder to write a piece of two pages, that is worth playing, than to
compose an effective piece of double that length. As may be
inferred from the title, they are chiefly distinguished by their
marked rhythm ; but they are all full of intelligible melody The
six numbers are respectively a polonaise, a tyrolienne, a polka, a
mazurka, a waltz, and a galop. Being very easy to play, they can
be heartily recommended for beginners— a class of pupils for whom,
as most teachers know, there is often considerable difficulty in
finding suitable music.

Six Marches, Transcribed for the Pianoforte by G. J. Van Eyken.
London : Augener & Co.

This series of marches includes a "Marche Fantastique '' by
Chopin ; the same composer's " Marche Funebre ; " a march by
Mendelssohn, adapted from his Capriccio, Op. 22 ; the march
from Spohr's great symphony, " Die Weihe der Tone ;" and two
marches by Wagner — the well-known one from Tannhduser, and
the graceful wedding- march from Lohengrin. They are all effec-
tively arranged, with special regard to the convenience of the
player, so as to be quite within the reach of ordinary amateurs. As
musical " purists " we should be inclined to object to the arrange-
ment from Mendelssohn's Capriccio, in which the second subject of
the allegro does duty as the theme of the march, while a portion of
the introduction, considerably altered, is made use of as the trio ;
still Mr. Van Eyken may argue that the piece has been previously
published in a similar form ; and we must in justice to him say that,
if we leave out of consideration the composer's original intentions,
the piece in this shape makes a most spirited and capital march-
one that is likely to be by no means the least popular of the series.

Spring Song (Friihlingslied), for the Pianoforte, by G. J. Van
Eyken, Op. 20 (London : Augener & Co.), is a pleasing and
melodious little drawing-room piece of moderate difficulty, with
here and there a touch of Mendelssohn about the style.

Scherzo Giojante in E flat ; Scherzo, nello Stile Napolitano, in
Re minore, by Franz M. D'Alquen (London : Wood & Co.), are
two really capital pieces, ranking among the best we have yet seen
from Mr. D'Alquen's pen. Of the two we rather prefer the former,
as the latter reminds us somewhat of the scherzo of Beethoven's
Choral Symphony. In both the subjects are not only well chosen,
but well treated. Like all their composer's pieces, they require
much attention to touch and phrasing to do them justice, and are
therefore particularly useful as teaching-pieces.

Prelude and Gavotte for the Pianoforte, by CHARLES SALAMAN,
Op. 47 (London: Lamborn, Cock, & Co.). The old dance-forms
so much affected by composers of a hundred years ago are now so
neglected, that it is quite a novelty to meet with a genuine Gavotte
among modern publications. Mr. Salaman, who is well known as
an earnest student of the older masters, as well as a most talented
and conscientious artist, has succeeded to perfection in his repro-
duction of the old style, and has produced a charming piece which
will well repay for the trouble of practising it. Though in an
antique form, the music is by no means old-fashioned. Those
players who are accustomed merely to the scales and arpeggios
which form the staple of so much modern piano-music, will find the
chords and holding notes somewhat troublesome ; but any who are
familiar with really good music will play it without any great effort.

Rondo for the Pianoforte, by Westley Richards (London :
Lamborn, Cock, & Co.), is a well-written piece, which, however, we
think it a mistake to call a Rondo, as the form of that kind of
movement is by no means clearly preserved. The passage-writing
is good, and the piece will afford useful practice.

March of the Choristers, by Alfred B. Allen (London: Novello,
Ewer, & Co.), is a piece about which we have nothing particular to
say, for the simple reason that it says nothing particular for itself.

Marche Militaire, par F. Scotson Clark (London : Augener
& Co.), lies before us in three forms — for piano solo, piano duet,
and organ. When we say that it is a worthy companion of the
same composer's "Marche aux Flambeaux,'' we have probably
said enough to induce Mr. Clark's numerous admirers to order it
at once.

' ' Violets again ;" " Love in my Bosom like a Bee, " by J .L. Eller-
TON, are a part-song and a madrigal — the former for three, the latter
for six voices — by one of our most accomplished amateurs. Of the
two we much prefer the part-song, as the madrigal, though very
clever and well written, is (like a very large number of the older
madrigals) somewhat dry.

Watch and Pray, Anthem for four voices, by William LoCKETT
(London : Novello, Ewer, & Co.), has the great merit of avoiding
the commonplace. Mr. Lockett has set his words with true
musical feeling, and as the whole anthem is very easy, it will be
available in any church where there is even a tolerable choir.

A Summer's Night, Song, by J. HART GORDON (London :
Hutchings & Romer). This song is announced on the title as
"Sung by Mr. W. H. Cummings." We are sorry for Mr.
Cummings !

A Serenade, composed by Theodora (London, R. Cocks
& Co.), is decidedly superior to the average of amateur songs.
This is in itself such very feeble praise, that we must add that it has

June I, 1871.]

THE MONTHLY MUSICAL RECORD.

a pleasing if not strikingly original melody, and that the accom-
paniment, happily, is correctly written.

Soft, Soft Wind, Song, by Cleveland Wigan (London :
Novello, Ewer, & Co.), is a simple and very charming little con-
tralto song, with an elegant melody, tastefully harmonised. It is
not by any means difficult, and can be most heartily recommended.

Thou art Gone to the Grave, Sacred Song, by Emilio Pieraccini
(Bristol : A. Dimoline), is a flowing song with a violoncello obligato.
The composer's imperfect acquaintance with the English language
has caused him to give a false accent to the words in the last bar of
page 2.

MUSIC RECEIVED FOR REVIEW.

Bcringer, Oscar. Six characteristic pieces for the piano. (London :
W. Czemy.)

Green, Joseph. The Tritone, a Method of Harmony and Modu-
lation. (Novello, Ewer, & Co,)

Milburn, R. M. Hymn Tunes. Parti. (Novello, Ewer, & Co.)

Naish, Frank. " I saw thee Weep." Song. (Duncan, Davison,
&Co.)

Concerts, Set*

CRYSTAL PALACE.

Mr. Manns' benefit concert, on the 29th of April, was, we are
sorry to have to say, a feeble conclusion to a most interesting series
— one unworthy alike of the reputation of the Saturday Concerts,
and of their justly-esteemed conductor. The principal feature in it
was the first performance of a new cantata, Fair Rosamond, by Mr.
Joseph L. Roeckel. Mr. Roeckel has been singularly unfortunate
in his libretto ; the author of which, besides making use of such
curious expressions as —

" O worse than crownless is the queen

With whom this knowledge maketh lair,"

seems especially addicfed to what an American writer has happily
termed "ornamental blasphemy." Such lines as —

and —

" God brand thee for the wage of sin,"
" Out, Devil ! Thou, thou art the storm,"

are, we submit, offensive from an artistic point of view, to say
nothing of any other considerations. The music of the cantata is
flowing and full of tune ; but we intend no disparagement to the
composer, in saying that the work is not of a sufficiently high order
of genius to form a fitting close to a series of performances which
have included the masterpieces of Beethoven, Mendelssohn, and
Schumann. The principal vocalists were Madame Sherrington, who
was very successful in her scena, ' ' O worse than crownless ; " Miss
Helen D'Alton, who sang the one song allotted to her, " Lilies
ta'en from loving hands," with much taste ; Mr. Sims Reeves and
Mr. Patey, both of whom, we need not say, did full justice to their
respective parts. The lively chorus, ' ' O save you, gallant gentle-
men!" pleased so much as to obtain an encore ; and the whole
work, which was conducted by the composer, went with a spirit and
accuracy with which, we should think, he must have been fully
satisfied. Mr. Manns being unfortunately absent from illness, the
remainder of the programme was conducted by Mr. Wedemeyer —
the assistant-conductor of the band — in a most efficient manner.
It included the overture to Oberon, which opened the concert,
Schubert's unfinished symphony in B minor, vocal music by Mdme.
Sinico and Signor Borella, and Wagner's new ' ' Kaiser-marsch " as
a finale. As we have spoken of this work at more length in another
column, it will be sufficient now to say that, though played to per-
fection, it failed to make any great effect on the audience. We
must not omit to notice that Mdme. Goddard played, in her own
exquisitely finished manner, Thalberg's grand fantasia on Don
Giovanni. The whole concert, which was far too long, lasted two
hours and three-quarters.

During the past month, the " Summer Concerts" have taken the
place of the ' ' Saturday Concerts. " As the interest of this series
depends more on the performers than on the works produced, it will
be sufficient to say that the chief artistes of the opera have made
their appearance, and that the programmes have included the most
favourite and popular pieces of their repertoire.

For the 27th ult. (after our going to press) a Concert-Recital of
Fidelio was announced, with a strong cast, including Mdlle. Titiens
as the heroine.

ORATORIO CONCERTS.

The sixth and last concert of the present series took place at St.
James's Hall on the 5th of May. The programme was of unusual
interest, as it included Beethoven's great Missa Solennis in D, and
the same composer's Choral Symphony. The latter of these two
works is to be heard tolerably often ; but a performance of the mass
in D is such a rare event, that Mr. Barnby deserves the hearty thanks
of musicians for bringing it forward. He had previously produced
it last year ; but though it was most effectively given on that
occasion, it was even more finely performed on the evening now
under notice. Indeed, we shall probably be fully justified in saying
that no such rendering of this colossal work has ever been heard in
London. Not only were the vocal and instrumental parts presented
as Beethoven wrote them — giving a faithful reproduction of the
composer's ideas, instead of a mere caricature of them — but the
enormous difficulties, both physical and mechanical, presented to
the singers were overcome with an unfailing precision which we
doubt if any other choir in London, except Mr. Leslie's, could have
equalled, and which certainly none could have surpassed. To name
but two instances — the trying upper B flat for the trebles in the
opening movement of the "Credo," held for three bars and a
half, was attacked with the utmost decision, and held throughout
perfectly in tune ; while the unvocal and almost impossibly difficult
fugue " Et vitam venturi," which concludes the same portion of the
mass, was sung without the least slip from the first bar to the last.
Mr. Barnby may well feel proud of a choir which can sing such
music in such a way. To speak in any detail of the work itself
would far exceed the space at our disposal : to those who are
unacquainted with it, any description would be inadequate, if not
unintelligible ; to others it would be superfluous. The extremely
trying solo parts were admirably sung by Mdme. Cora de Wilhorst,
Mdme. Patey, Mr. Lloyd, and Herr Carl Stepan, and the violin
obligato to the " Benedictus " received full justice at the competent
hands of Mr. Carrodus.

Of the Choral Symphony, which formed the second part of the
concert, there is no need to say much. The performance was a
very good one, the choral portion especially being far better rendered
than is frequently the case. The soloists were the same as in
the mass.

The series of concerts thus successfully concluded has been one of
the best, in every respect, given in London during the present season.
We trust that Mr. Barnby may be encouraged to continue them
next winter, and that he will make further researches among
forgotten or seldom heard works. Might we suggest, as worthy of
his notice, Bach's High Mass in B minor, and his Christmas
Oratorio ? Cherubini's great mass in D minor, as well as his
Reauiem, would also be well worthy of a hearing.

The great pressure upon our space in this number compels us to
make our record of concerts more than usually brief. We can only
give an outline of the programmes of the most artistically important,
among the many interesting musical events of the past month.

The Sacred Harmonic Society has given two concerts at the
Albert Hall, on the 3rd and 17th of May. On both occasions
Haydn's Creation was the oratorio selected for performance.

The programme of the fourth Philharmonic Concert, on the 8th
of May, included Handel's Sixth Grand Concerto, in g minor, for
strings — a revival of great interest— Beethoven's 'symphony in F,
No. 8 ; Auber's Exhibition Overture, and Mendelssohn's to Rny Bias;
Schumann's piano concerto, played by Mdme. Szarvady ; and a
concertino for double-bass, composed and performed by Signor
Bottesini. The vocalists were Mdlle. Regan and Herr Stockhausen.
At the fifth concert (on the 22nd) the symphonies were Schubert in
c, and Mendelssohn's Italian ; and Mdme. Norman-Neruda played
Beethoven's violin concerto.

The performance of Mozart's opera, Idomeneo, at the New
Philharmonic Concert on the 24th, is too important an event to be
dismissed with merely a line. Should our space permit, we will
speak at more length about it in our next number. Meanwhile we
must content ourselves with recording the event.

The second matinee of the Musical Union, on May the 2nd,
introduced as a novelty Reinecke's pianoforte quartett in E flat,
Op. 34, the piano part bring played by the composer. The other
works performed were Beethoven's quartett in Bflat, Op. 18, No. 6 ;
and Mendelssohn's quintett, Op. 87. Signor Sivori was first violin.
At the third matinee, on the 16th, the quartetts were Beethoven's
in D, Op. 18, No. 3, and Haydn's in c, No. 57. Schubert's trio in
B flat was also played, Herr Jaell being the pianist.

Mr. Charles Halle"'s Recitals are always among the most
interesting events of the musical season, and the present series is
by no means inferior to any preceding one. Mr. Halle" always
introduces some specialty at these recitals. On three previous

THE MONTHLY MUSICAL RECORD.

[June I, 1 87 1.

occasions (if we mistake not) he has played through the whole of
Beethoven's solo sonatas, while another year he performed Schubert's
pianoforte works in their entirety. This year the feature of the
recitals is the production by himself and Mdme. Norman-Neruda of
the whole of Beethoven's sonatas for piano and violin. Of these two
are given each afternoon. Eight have at present been performed,
and Mr. Halle has also played, besides other solos, Schubert's
sonata in A minor, Op. 42 ; the same composer's fantasia-sonata in
G, Op. 78 ; Weber's Grand Sonata in A flat ; and dementi's sonata
in G minor, Op. 34, No. 2. Of Mr. Halle''s playing, it is unnecessary
to say a word. He is well known as one of the most finished and
intellectual living exponents of classical music.

Our excellent pianist, Miss Agnes Zimmermann, gave a concert
at the Hanover Square Rooms on the 27th of April, at which her
playing was fully worthy of her high reputation. Her only solo was
Schumann's enormously difficult and (though somewhat diffuse)
very imaginative ' ' Humoreske, " which she played from memory,
not only with unerring accuracy, but with a full appreciation of the
composer's intentions. Miss Zimmermann also played, with Mr.
Henry Holmes, Mozart's great sonata in A ; and with Signor Piatti,
a very clever sonata (MS.) of her own, for piano and violoncello,
besides joining the two gentlemen in a capital performance of
Mendelssohn's trio in c minor. Mr. Holmes contributed as a solo
a very charming andante by Silas, which, by the way, was particularly
well accompanied by Mr. Shedlock. The vocalist was Herr Stock-
hausen, who, besides other songs, gave a very graceful little
" Lied " by Miss Zimmermann, " Morgen muss ich fort von hier,"
which pleased so much as to obtain an encore.

We have only space to mention the principal items of Mr. Walter
Macfarren's capital matine'es. At the first (6th of May) were
performed Beethoven's sonata in G minor, Op. 5, No. 2, for piano
and violoncello ; a new manuscript sonata in A, for piano and violin,
by Mr. G. A. Macfarren ; and Mendelssohn's piano quartett in
B minor ; besides piano solos, by the concert-giver ; and at the
second, on the 20th, Schumann's piano quartett in E flat, Bennett's
sonata in A, for piano and violoncello ; and Beethoven's sonata in c
minor, for piano and violin. The third matine'e is announced for
the 3rd instant.

Mr. Sydney Smith, well known as a popular writer of drawing-
room pieces for the piano, has given the first two of a series of three
recitals, at which he has proved that he is fully competent to interpret
the works of the great masters, as well as to perform the lighter class
of music usually associated with his name. The first recital we
were prevented from attending, and therefore can give no account
of it ; but the second (on the 17th of May), besides several of Mr.
Smith's brilliant and pleasing solos, comprised Mozart's lovely
trio for piano, clarionet, and viola (Messrs. Smith, Lazarus, and
Burnett), Weber's variations for piano and clarionet, and Beethoven's
sonata in F, Op. 24 (Messrs. Smith and Henry Holmes). In all
these pieces Mr. Smith displayed not merely finished execution, but
correct taste. The date of the third recital is .fixed for the 7th
of June.

Jtestral f}.ott$.

The triennial Handel Festival at the Crystal Palace is announced
to take place during the present month, on the following dates : — ■
Friday, 16th, Rehearsal ; Monday, 19th, Messiah; Wednesday,
21st, Dettingen Te Deum and Selection ; Friday, 23rd, Israel in
Egypt.

The musical performances at the Albert Hall in connection with
the International Exhibition, during the past month, have consisted
exclusively, up to the time of our going to press, of performances
by military bands, which do not possess sufficient artistic value
to require a detailed notice in our columns. The Leipzig Signale
states that Herr Lohr, of Szegedin in Hungary, has been selected
as the Hungarian representative of organ-playing at the Exhibition.
The same paper offers a very practical suggestion with respect to
the Albert Hall, to the effect that in consequence of the exertion
requisite for making one's-self heard in it, vocalists should ask
double fees for singing there !

Schubert's great mass in e fiat was performed on Whit-Sunday
(we believe for the first time in this country), with full orchestral
accompaniment, at St. Alban's Church, Holborn.

It is always pleasing to notice efforts for the diffusion of the best
class of music. We are, therefore, very happy to mention that Mr.
W. H. Grattann, of Torquay, is giving a series of performances, in
which, besides other classical works, he is producing the entire series
of Beethoven's piano and violin sonatas, in regular order. Such

attempts to raise the popular taste deserve cordial recognition and
hearty support.

The great Beethoven festival at Bonn, which was postponed last
year in consequence of the breaking out of war, is now announced
to take place in August next.

The Belgian composer, M. Gevaert, has succeeded the late
M. Fetis as Director of the Conservatory at Brussels. He has also
been appointed " Maitre de Chapelle de la Cour," with a salary of
10,000 francs.

Mr. Roeckel's cantata, Fair Rosamond, recently produced at
the Crystal Palace, was performed at Clifton on the 10th of May.
The Western Daily Press speaks favourably both of the work, and
of its reception by the audience.

TO CORRESPONDENTS.

Cleveland Wigan. — Your article is under consideration.

We have received another letter from Mr. Charles Lunn, ot
Edgbaston, which we have no room to insert, wishing to "set him-
self right with our readers." He explains that the licence he claims
for performers is only that of altering music "for the sake of im-
proving its objective oneness, but decidedly not for subjective
purposes." We have much pleasure in giving our readers the
benefit of his explanation.

TO CORRESPONDENTS.

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to the Editor, and must be accompanied by the name and address
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The Editor cannot undertake to return Rejected Communica-
tions.

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"THE MONTHLY MUSICAL RECORD."

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ARTHUR ALLISON, Harmonium Manufacturer,
no, Wardour Street, London, W. Sole London Agent for Rams-
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Pedal Substitute Organs. Price Lists on application.

HYMN TUNES, composed by R. M. Milburn,
Magdalen College, Cantab. Part I. (containing 14 Tunes), price
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Weary ? " " Jesus lives ; " " Now the day is over," &c. &c.

London : Novello, Ewer, and Co., 1, Berners Street, Oxford Street, W.
Churchman, Broadway, Hammersmith, W.

THE TRITONE, a method of Harmony and Mo-
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MANUAL of HARMONY and THOROUGH
BASS 5s.

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Song, " My life, my joy, my crown" 3s.

By James Stimpson, Organist of the Town Hall, Birmingham.

R. VERNON RIGBYS New Song, "I saw

thee weep." Composed expressly for him by Frank Na^sh. In
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Messrs. Duncan Davison and Co., 244, Regent Street, W.

MEMBER of the Royal Academy, visiting

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Street.

N Commission bei C. Gerold in Wien ist erschie-

- nen : Denkschrikt aus Anlass des hundertjahrigen Bestehens der
Tonkiinstler-Societat, im J. 1862, reorganisirt als " Haydn," Witwen, und
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July I, 1871.]

THE MONTHLY MUSICAL RECORD.

§% lIWjjls literal Jjkrnrtr,

JULY 1, 1871.

THE TONIC SOL-FA SYSTEM OF TEACHING

MUSIC.
At a time when the subject of music-teaching is attracting
more public notice than has usually been the case, it will
not, we think, be deemed inappropriate if we direct the
attention of our readers to a system which is fast making
way, and which has recently been accepted by the Com-
mittee of the Council of Education for their musical
examinations, on the same terms as the ordinary notation.
And we do this the more readily, because we know that
there exists a great deal both of ignorance and prejudice
on the subject, especially among members of the musical
profession. Often, when the method has been mentioned
in musical circles, have we heard such remarks as, " Oh !
the Tonic Sol-fa is" all nonsense." We believe that the
teachers of the new method have largely themselves to
thank for this prejudice, through their perhaps natural,
but certainly injudicious zeal, in disparaging the ordinary
notation to exalt their own ; but, whatever its opponents
may say or think, the system is not the farrago of non-
sense which it has been called ; and it is from a simple
love of justice, and with the view of, if possible, removing
prejudice, that we propose in this article to explain what
is its real nature, what are its claims to notice and sup-
port, and what the limits within which we consider it
likely to aid in the diffusion of musical knowledge.

And first let us say that the Tonic Sol-fa system is not,
as most people who have not examined it suppose, nothing
more than a new method of writing music, intended to
take the place of that in common use. Many proposals
to simplify musical notation have at various times been
brought forward ; and were the question merely one of
the relative excellence of the various plans, it is quite
possible that the system ordinarily employed might be
improved upon. But when the immense quantity of music
already published is borne in mind, it is, we think, highly
improbable that any other notation will ever so far super-
sede the present as to render all the volumes that have
been issued merely so many antiquarian curiosities. And
if the Tonic Sol-fa system were nothing more than this,
we should certainly consider our space too valuable to be
taken up with a discussion of its merits. But, in truth, so
far is this from being the case, that the new notation is
merely what logicians term a " separable accident " — that
is, it is not an essential portion of the method. On the
contrary, it is not only practicable to teach on the Tonic
Sol-fa system from the ordinary notation, but it has, to
our own knowledge, been actually done. The letters,
lines, and dots, which to the uninitiated look like so many
cabalistic signs, are simply a method of noting music,
which to young children, and indeed to all who know
nothing of the art, is easier of acquirement than the gamut
in common use.

What, then, is the pith and essence of the system? and

what is the secret of its indisputable success ? Simply
this— that instead of teaching singing by absolute pitch,
it teaches it on the basis of key- relationship. It is not
the first time that this method has been employed. The
late Rev. Mr. Waite (whose name will probably be familiar
to many of our readers, in connection with his efforts some
years since for the promotion of Psalmody among the
Congregationalists) adopted it invariably in his classes ;
but the Tonic Sol-fa method does the same thing more
completely and accurately. All musicians know that the
relation of sounds in a key to the key-note, and to one
another, is " constant"— that is, always the same, what-
ever the position of the key-note. Thus, the interval from
the first to the third note of the major scale is the same,
whether it be from c to E, from F to A, or from B flat to D.
When once the scale is thoroughly known, the Tonic Sol-
fa system is virtually mastered ; and the peculiar notation
adopted simply saves the pupil the trouble of finding the
key-note for himself. The principal advantage, however,
of this new way of printing music is its cheapness ; for
as nothing but ordinary printer's type is required, the cost
is so much reduced as to place it within the reach even of
the poorest. Thus a large class is brought under the
humanising influences of the art, whom the expense would
otherwise have debarred from its enjoyment. As to the
relative ease with which singing can be taught from abso-
lute pitch or from key-relationship, any teacher who has
tried both, especially with children, can testify how in-
comparably easier the latter method is ; and not only is
it easier, but it is more true and more thorough. The
testimony of the late Sir John Herschel on this subject is
worth quoting. In an article contributed a few years
since to the Quarterly Journal of Science, he wrote, " I
adhere throughout this article to the good old system of
representing by Do , Re, Mi, Fa, &c, the scale of natural
notes in any key whatever, taking Do for the key-note,
whatever that may be, in opposition to the practice lately
introduced (and soon, I hope, to be exploded) of taking
Do to express one fixed tone, C— the greatest retrograde
step, in my opinion, ever taken in teaching music or any
other branch of knowledge."

A very common error in relation to the subject is the
belief that those who have learned on this method have
all to unlearn, or at least to learn over again, as soon as
they sing from ordinary notes. So far from this being
the fact, it is extremely easy to transfer all the knowledge
acquired on the one system to the other ; and it has more
than once been found by conductors of choral societies,
that some of the best sight-readers in the chorus have
been those who gained their first knowledge of music as
Tonic Sol-faists.

Of late attempts have been made, and we believe are
still in progress, to extend the system to instrumental
music. For such instruments as the violin, and others in
which the tones produced are regulated by the ear of the
performer, the method may be, and probably is, advan-
tageous, as it unquestionably cultivates the ear of the
pupil ; but for instruments, such as the piano, in which
the sounds are fixed, we are unable to see any advantage,

8.4

THE MONTHLY MUSICAL RECORD.

[July I, 187 1.

except that of saving the trouble of learning another
notation ; while it cannot, we think, be denied that both
for very full harmony and, even more, for rapid and florid
music, the new method is very cumbersome and incon-
venient. The idea of such a piece as Thalberg's " Home,
Sweet Home!" in the Tonic Sol-fa notation is really
ludicrous. Besides, all pianists know that in reading
music, especially at first sight, the position of the notes
on the stave is a great assistance to the player ; and where
all are reduced to a dead level, with only small figures
put above or below every note, to show in which octave it
is to be played, the difficulty of deciphering a new piece
would be enormously increased. We are therefore unable
to admit the practical value of the system for instrumental
music in general, apart altogether from the not unim-
portant consideration of the number of valuable works
which neither are, nor are likely to be, accessible in <the
Tonic Sol-fa notation.

We have thus defined what we conceive to be the limits
within which this new method is likely to be useful. For
singing, especially for elementary classes, it is most valu-
able ; but until the whole available musical literature is
translated into this notation, it is useless— nay, worse
than useless— to set it up, as some of its fervent advopates
do, as a substitute for the ordinary system. It is this
injudicious advocacy, we believe, which has, more than
anything else, excited the hostility of the musical pro-
fession ; and we trust that Tonic Sol-faists will, for their
own sakes, be wise enough to desist from a course which
can harm none but themselves. It is absurd to suppose
that they can displace the old notation; let them be
content to render it most important service. It is in their
power to do this. The Tonic Sol-fa system is the most
valuable auxiliary music has seen for a long time ; but the
unwise attempt (on the part, we are happy to believe, only
of a certain section) to set up the new method as a sub-
stitute for the old, reminds us of the husbandmen in the
parable saying, " This is the heir ; come, let us kill him,
and seize on the inheritance."

In conclusion, let us prevent any misapprehension on
the part of our readers, by saying that while we have en-
deavoured in this article to do full justice to those who
have too often received but scanty justice from musicians,
we are, and ever shall be, staunch upholders of the esta-
blished notation. The new we consider of comparatively
but little value ; it is the principle of key-relationship
which is the heart and kernel of the system, and to
this method of teaching singing we profess our thorough
adherence.

it is difficult to single out any part as being of special
beauty. The most striking characteristic of this
" Credo " is its eminently devotional style. The jubilant,
almost boisterous gaiety to be found in this place in too
many masses, and even in some of our author's (those in
B flat and c), is entirely absent here. Without being in
the least lugubrious or heavy, there is a calm religious
feeling pervading the whole, which is admirably in keep-
ing with the confession of our faith. The opening chorus
(e flat, B, moderato, 133 bars) commences after two bars
of solo for the drums, which instruments play a most im-
portant part in the movement, with a simple phrase for
the chorus, piano, supported merely by the pizzicato of
the basses : —

-FRANZ SCHUBERT'S MASSES.

BY EBENEZER PROUT, B.A.

( Concluded from page 72.)

5. THE MASS IN E FLAT. {Continued.)

The " Credo " of this great mass is even more novel in
style and effect than the " Gloria " analysed in our last
number, and is, perhaps, on the whole the finest portion
of this remarkable work, though where all is so excellent

Tim/>.

j>p C.B.pizz. w l

De ----- urn, &c.

-, v. I

ibfe:

Vsrz^z.

—it

A short interlude for wind instruments succeeds, and
then the roll on the drum is repeated, this time accom-
panied by the basses, pizzicato— -a new and effective
orchestral combination not to be met with, as far as I am
aware, anywhere else. The chorus then resumes with the
words " factorem cceli et terrae," the " Patrem Omnipo-
tentem" being omitted, with Schubert's characteristic
carelessness about his words. The music continues in
the subdued style of the opening subject, each phrase for
the voices being followed by a short interlude for wind
instruments (mostly bassoons and horns), till a full close
is reached at the word " invisibilium." Then, after the
roll on the drum again, we meet with a short interlude for
the strings, which must be quoted, as it recurs several
times in the course of the " Credo :"—

On the last note of this extract the bass voices enter
forte with the words " Credo in unum Dominum." The
original melody is now taken, and treated in free imita-
tion, the voices entering]; at a bar's [distance. These

July I, 1871.3

THE MONTHLY MUSICAL RECORD.

imitative passages then, alternate with snatches of the
first s\ib]ect,piano, for all the voices together. Some very
fine modulation, which space forbids quoting, occurs at
the " Deum de Deo ; " and at the " Qui propter nos
homines " the opening phrase is met with in an altered
form, the melody being now given to the soprano an
octave higher than before, and the harmony being in the
" dispersed " instead of the " close " position. Room
must be found for the lovely cadence at the " descendit
de ccelis." It is only necessary to give the voice parts,
as the clarionets and bassoons play in unison with the
chorus, and the strings (still pizzicato) are also in unison:

^gep

On the last note of the chorus our old friend the drum
enters with its roll of two bars again, and the movement
concludes with the symphony quoted in our second ex-
tract, now, however, given not to the string quartett, but
to one oboe and three trombones piano — a luscious tone-
colour to which Schubert in this work shows himself
very partial.

The " Et incarnatus" (a flat, ^, Andante, 65 bars) is
one of the most exquisite movements that ever fell from
its author's pen — one that it is impossible for any true
lover of music to hear without being deeply moved. It
is in the form of a canon for one soprano and two tenor
voices. It is a singular thing that Schubert, who is so
rarely successful as a fugue writer, should be so particu-
larly happy in his canons. Two of these have been
already met with in the settings of the " Benedictus," in
the masses in F and G, and this " Et incarnatus" is fully
equal, if not superior, to either of them. After a sym-
phony of four bars, in which the principal theme of the
movement is~ announced by the violoncellos, the first
tenor leads. There is only room to give the melody : —

ho - mo fact

It is with great regret that I am forced to omit the
accompaniment of this exquisite subject ; but to do it any-
thing like justice it would be necessary to print the score
in full. The second tenor then joins the first, after which
the soprano follows. At the " Crucifixus " the chorus
enters pp. in A flat minor, accompanied by a shuddering
semiquaver figure for the strings. The modulations here
are most unusual and highly effective. From A flat minor
the music goes to G minor, then to G major. One chord
takes us abruptly to F sharp minor ; one more step and
we reach F minor, in which key a great crescendo leads
up to a tremendous burst with full orchestra fortissimo,
on the word " crucifixus ; " and a sudden piano on the
words " passus et sepultus est," for voices in unison with
the harmony in the orchestra, brings us back after two
bars of symphony to the first subject. It is unfortunately
quite hopeless to attempt to give any adequate idea of

this remarkable passage by an extract. I must refer my
readers to the score of the work, as any description must
necessarily be vague and unsatisfactory. The " Et incar-
natus" is then repeated for eight bars by the solo voices,
after which the " Crucifixus " is resumed in the same
style as before, but with different modulations. There is
perhaps nothing more striking in the whole range of music
than this exquisite movement ; but it must be heard to be
appreciated. No mere description will convey any idea
of" its beauty.

The " Et resurrexit" (e flat, E, Tempo primo, 342 bars),
after the symphony quoted in our second extract, now given
to the reed and brass instruments forte, commences with
a portion of the first movement of the " Credo." Though
some new matter is introduced, especially an episode for
voices piano, at the words " cujus regni non erit finis,"
accompanied only by one oboe and three trombones, there
is nothing in the first portion of the movement which re-
quires special notice, as the general character of the music
exactly resembles that of the previous chorus. But at the
1 1 6th bar, to the words " Et vitam venturi saeculi," com-
mences the most extensively developed and certainly the
most successful fugue in the whole work. The theme,
announced by the bass voices, with the bass trombone,
bassoons, violoncellos, and basses, is as follows : —

Bassi.

3%m

ggEggEgjgg

Et vi - tarn ven - tu - ri sae - cu - li, ven - tu

sae - cu- li, A

As in the " Cum sancto," the instruments play through-
out in unison with the voices. The working of the fugue
is very clear and well sustained, and the movement con-
tains some admirable episodes. Among these may be
specified, first, the interlude for the violins and violoncellos
only, in which the subject of the fugue is made the bass
of an entirely new melody — a device of which Haydn in
his fourth and sixth masses had already given examples.
Another very effective point is in the stretto near the end
of the movement, where the chorus piano is accompanied
only by the lower E flat of the horns — the effect of the
deep pedal note below the voices being particularly
striking. And lastly must be noticed the fine pedal point
on B flat, just before the final close, in which the subject
of the fugue is altered in the most unexpected way. Room
must be spared to quote the voice-parts ; the instruments,
as mentioned above, play in unison : —

JU — * I r\|

Bass./'
A

vi-tamven-tu - r

-■f~F

cu- li.
-J-J-

=&*=

1 — r

et vi-tam ven - tu - n sae

~-^ — I-

- men.

iu-

±2=1

*=F\

cu - li. A

-r~rJT

J . J -d44j..A. -^ ^-^J.

THE MONTHLY MUSICAL RECORD.

[July I, 1871.

The " Sanctus " (e flat, O, Adagio, 23 bars) is remark-
able for the boldness of its modulations. The opening
bars are indeed of such difficulty that it would tax any
choir, however expert, to sing them in tune. The chord
of E flat is followed by the chord of B minor, and that
again by the chord of G minor, from which key an
abrupt transition is made to E flat minor. It may be
doubted whether even Beethoven's great mass in D con-
tains a more trying passage for the chorus than this-
The strings accompany with triplet semiquavers, after the
manner of the " Sanctus " of our composer's mass in F, to
which movement (except in the abruptness of the modu-
lations) the opening of this one bears a considerable re-
semblance. At the " Pleni sunt cceli " a new theme is
introduced, but is not developed at any great length. The
" Osanna " (£, Allegro ma non troppo, 63 bars), is a well-
treated fugato, but with no features requiring special re-
mark. The " Benedictus " (a flat, E, Andante, 1 14 bars) is
a quartett and chorus, which for tenderness and charm
may well pair off with the " Et incarnatus " already
noticed. After four bars of prelude for the strings, the
solo voices enter with the following beautiful subject : —

^E^^S

£i^E

II II

Be - ne - die - tus qui ve - nit in no - mi - ne

The reader will easily imagine the effect of this lovely
passage, when sung by four good performers. The lovely
flow of the parts is not obscured by any additional accom-
paniment, as the strings merely play with the voices. On
the last note of the extract, the wind-instruments enter for
the first time ; and after eight bars more in the same
strain as our quotation, a short symphony for the wind
alone, in which the soft tones of the trombones are em-
ployed with masterly effect, leads to what may be described
as the second subject of the movement. Here the chorus
enter for the first time, the parts imitating one another at
a bar's distance. After ten bars, the solo voices are heard
again with a new melody, quite equal in beauty to the
opening theme :■—

fe£

Be ne die - tus qui ve - nit, be - ne -

Sof. , , J-yj

^3^

-tJpn-'-m

Alto.TST--*- ' 1 f" «j" ' ~l ' i j- - — i T '

Be "- ne - die - tus qui ve - nit in no - mi - ne

Be - ne - die - tus qui ve - nit in

Ten. K I ._ . . •— « I h

^>J ijkigHfftly=#

Bass.' 1 '

Be - - ne • die - tus, qui
die - tus qui ve - nit in no - - -

^^WPPf^fP

Do - mi - ni, qui ve - - nit in no - •
no - mi - ne Do -mi - ni, in no •

M^F-r r*r*^-T-r=r*

nit in no

- mi - ne Do

mi - ne Do
• . - mi - ni.

t=^

±jbdsyb

^=f=^=^

mi-ne Do - - - • mi - ni.

mi - ne Do - mi - ni, be - &c.

^N A fii

?=1eS='

mi - ne, in no - mi-ne Do - mi - ni.

This subject is then repeated by the full chorus, piano,
after which a graceful and charming instrumental sym-
phony leads back to the first theme. On its resumption,
however, the parts are inverted, the melody being now
allotted to the tenor voice and the violoncellos, with most
lovely effect. The second subject follows in due course
in the key of A flat, and a symphony of five bars for the
strings leads without a pause to the customary repetition
of the " Osanna." I can only repeat with respect to this
movement what was said of the " Et incarnatus " — that no
description, nor any short extract, will do anything like
justice to its beauty.

The " Agnus" (C minor, f, Andante con moto, 98 bars)
is a solemn and impressive movement, developed to a
length most unusual with Schubert. It is indeed more
than twice as long as the setting of the same words in any
of his other masses. It commences with a fugued sub-
ject of a severe, one might almost say stern character,
modelled, apparently, on the church music of the last
century. At the words " peccata mundi," the voices rise
to a fortissimo with the following unusual and rugged
sequence of chords : —

At the next bar the sopranos enter alone, and piano on
D, with the word " miserere," the other voices completing
the chord of B flat two bars later, and a most melodious
cadence following in that key. The first subject is then
resumed in G minor, and the " miserere " is repeated in
the key of E flat. For the third time the fugued subject is
introduced, now again in the original key, but with closer

July I, 1871.]

THE MONTHLY MUSICAL RECORD.

imitation than at first, and a pedal point, piano, of fifteen
bars' length on G, ending with a half-cadence, brings us to
the " Dona" (e flat, 6, Andantino, 92 bars ; f , Allegro molto
moderato, 23 bars ; g, Tempo primo, 43 bars). Here is
another of the movements which almost drive a critic to
despair. The wealth of invention, the exquisite orches-
tration, the harmonic treatment — in a word, the rich
genius which shines through every bar, renders analysis
a task of no common difficulty. A few words on some of
the salient points of the music are all that can be attempted.
And first it should be remarked, that perhaps hardly any
piece of the same length can be found that contains so
little modulation. The first part of the movement — 92
bars, down to the change of tempo to be presently
noticed — contains only one or two passing modulations
into the nearly-related keys of B flat and A flat ; and yet,
such is the skill of the composer, and such the variety of
the music, that not the] slightest feeling of monotony is
induced by the long prevalence of one key. The open-
ing theme of the movement is as follows : —

V.V. 1,2.

This passage is then repeated in a slightly varied form,
the wind instruments, as before, echoing the cadence.
After four such periods the voices and instruments an-
swer one another at only one bar's interval, catching each
other up, as it were, and tossing the beautiful theme to
one another in the most lovely phrases, which, however,
there is no room to quote. At the 29th bar of the movement
the first forte occurs, which is only of eight bars' duration.
At the same place the music modulates for the first time
into B flat, and a few bars later into A flat. Shortly after-
wards, a few chords for the wind bring back the opening
theme ; and here is found a most interesting example of
a new effect produced by variety of combination, with
exactly the same notes as previously used. The passage
given in our last extract to the chorus is now assigned to
the solo voices ; and the echo (given at first to the wind)
is now also sung by the full chorus forte. The first 24
bars are repeated in this altered form, and the last passage
for the chorus leads us into the " Allegro molto moderato,"
in E flat minor. This is nothing more than a repetition
of a portion of the "Agnus," in somewhat quicker time
than before, and after a half-close on the dominant seventh
of E flat the Andantino is resumed, the chorus beginning
in a most unexpected manner with the chord of the sixth
on B natural. An entirely new series of most lovely melo-

dies follows, till at last the chorus settles down quietly on
the chord of E flat, with this exquisite phrase —

the last bar being echoed by the wind instruments, as
before. Can anything more perfectly express the realisa-
tion of that peace for which the words are a prayer? A
few bars more, and all is over. The music rises to one
joyful burst, and dies away with a final cadence, probably
without parallel at the close of a mass. Instead of the
customary ending with the chords of the dominant and
tonic, Schubert concludes thus, the voice-parts only being
given, as the instruments play in unison : —

, ff s~ -x T\

. _r:_ ...:, _= r;:- ^

I have now completed the task I set before myself in
commencing this series of papers. How inadequately I
have done justice to my subject, none can feel more than
I do. Much of the beauty of such works as these must
escape any analysis, and even with the aid of musical
illustrations, it has often been impossible to convey one's
own impressions on paper. If, however, I have succeeded
in inspiring any readers of these pages with the desire to
know the masses for themselves, I shall be well rewarded
for the labour bestowed on the preparation of these
articles.

THE BEAUTIFUL IN MUSIC.

It may have often been remarked that notions of the beau-
tiful in music, or of that which necessarily constitutes
beauty in music, and of the qualities indispensable to
render a musical composition classical, are but imper-
fectly and vaguely expressed. And yet music is governed
by laws analogous to those of the sister arts of poetry,
painting, and sculpture, and is more intimately connected
with our feelings, physical as well as psychological. For
example, time in music has relation to our pulsation ; be
it fast or slow, the pulse can be brought into a ratio with
it, and the regular succession of beats creates in us a
sensation of pleasure similar to that we experience from
the eye watching the steady movements of a pendulum.
And melody, if constructed on simple vocal principles,
pleases, because we involuntarily follow in our breathing
the divisions or phrases of which, it consists. A com-
position, to be really classical and perfect, must possess
three kinds of beauty — the formal, the characteristic, and
the ideal ; which are based upon harmony, expression,
and fancy, each in the widest sense. The formal requires
that there should be perfect harmonious relationship of all
parts each to the other, and at the same time life animat-
ing the whole ; all governed by laws that admit of no ex-
ceptions, and yet so amalgamated with the composer's
feeling, from gradual appropriation by study, that no con-
traction of, or impediment to, his power of thinking arises
from it.

A composition, therefore, has no formal beauty from

THE MONTHLY MUSICAL RECORD.

[July I, 1871.

being constructed after the rules that experience has dic-
tated, unless it is pervaded by that freedom and independ-
ence of mind which stamps it with the author's idiosyncrasy.
When there is abandonment of external rules, and the
fancy refuses to recognise normal limitations, then there
is necessarily confusion and disorder, and fancy loses
itself in fog. Genius may claim, as of right, privileges of
licence ; but our greatest composers, as Handel, Bach,
Haydn, Mozart, and Beethoven, have all testified in their
works to the necessity of observing rules, which they so
completely mastered by severe and earnest study, that the
irregularities they allowed themselves were never pro-
minent. Formal beauty demands symmetry : it demands
that all periods, episodes, expansion of phrases into melody,
their repetitions and transpositions, should be in ac-
cordance therewith, and that different movements should
be so ordered in relation to each other, as to form a plastic
and perfect unity.

Characteristic beauty, or expression, claims equally
important consideration. It regulates the choice of time
and key, it governs the rhythmical life of a movement, and
the accents that mark it — the harmonious changes, the
instrumentation or position of melodies and passages in
different registers, the prominence or subordination of
accompaniments, the iteration of chords, duration of
pauses, hastening or slackening of time ; all these, and
other more or less important considerations, come under
its domain.

All works of a descriptive nature belong to the character-
istic. It is in them that composers can exhibit refinement
of feeling — first, in finding the best means to explain the
intention, and then in using them artistically. Beethoven's
Pastoral Symphony is the best and grandest model of
truthfulness of imitation, in combination with perfect form,
at the same time adorned and ennobled by pure and ex-
quisite taste.

A leading feature in characteristic beauty is the melody,
owing to the special expression it may bear ; but the
originality of it, as well as attributes of loftiness and
grandeur that may belong to it, are in the province of
ideal beauty. It is almost unnecessary to mention that
ideal gifts, including fancy, are in the province of genius.
Although the structure of a melody may be improved by
study, although an indifferent melody may be made more
acceptable by contrapuntal, harmonious, or rhythmical
devices, it is evident that the spontaneous invention of a
good melody is a natural gift alone, which, when abund-
antly repeated, may be accepted as a proof of genius. If
we examine the works of the greatest composers, we shall
see the truth of this. Handel's oratorios are classical — in
formal beauty, symmetry, counterpoint and harmonies are
complete ; in characteristic beauty they are models for all
time — their ideal beauty is manifest from the enthusiasm
with which they are now publicly received, after having
been written more than a century. Sebastian Bach's
works are also, and indisputably, amongst the most
classical we possess. Their formal beauty is even superior
to that of Handel's. As to the characteristic, we must
look at them from a different point of view : their expres-
sion is derived from the German mind — sacred music
based upon the Protestant choral — while Handel, from
study in Italy, had gained more freedom in writing for the
voice, which has led to his being more extensively appre-
ciated. The oratorios of Bach and Handel, in the difference
of their characteristic beauty, find a perfect analogy in
Albert Diirer and Raphael. As to the ideal beauty mani-
fested in Bach's works, time has not taken from its per-
fection.

Not so completely classical is Gluck ; he is perfect in
characteristic and ideal beauty, but in formal or technical

beauty is wanting. Still the striking truth of his character-
istic descriptions, and the antique grandeur of his dramatic
expression, are so sublime that shortcomings in other
respects may be readily excused. It is at once felt that
Haydn, Mozart, and Beethoven unite all beauties in their
works ; but it must be admitted that Beethoven, in most
that he composed, rises higher than either Mozart or
Haydn. His ideas are larger, the thought is deeper, the
outlines are grander, and the mind with which they are
imbued is loftier. If we now take Schubert, the last crea-
tive genius of Germany, we find in his compositions a
want of economy to be deplored. Of the beauty of the
melodies, the freshness of the harmonies, the spontaneity
of the expression, the warmth and rapidity with which
these excellencies strike us, there can be no doubt ; but
the partial want of formal beauty in his instrumental works
must be an obstacle to their being placed on a level with
those of the trio of great composers just mentioned.
Weber has the same failing ; irregular studies perhaps
hindered his attaining to sufficient variety in presenting
his melodies ; he was therefore obliged to write in a more
rhapsodical and fragmentary style ; but of the character-
istic power of his compositions, and ideal and enchanting
beauty and purity of his airs, there can be no question.

We have now seen that three primary qualities are
proper to a strictly classical composition in order that it
shall endure ; but the historical point of view, which in
music is too frequently ignored, requires that we should
give attention to other considerations, which, although
subordinate, should yet have place in our estimation of a
composer's genius ; as that of progress, wherein one great
composer may have gone much beyond predecessors in
formal beauty, but not to the disparagement of the latter
for not having attained to a like grade of excellence. For
example, when we admire the great perfection of Beethoven
in the sonata, in comparison with that arrived at by Haydn
and Mozart, or are in raptures with the irresistible splen-
dour of instrumentation of overtures by Rossini or Weber,
compared with which the more simple scoring of Mozart's
overture to Le Nozze di Figaro may seem poor to us,
we should remember that Mozart in his time was as much
in advance of those who went before him, and that his
works, in 1786, no doubt seemed as brilliant and rich to
their hearers as we feel the productions are of his eminent
successors. In characteristic beauty, the nation to which
a composer belongs should not be disregarded. Were a
Swedish composer to describe a pastoral scene, he should
be expected to differ in treating it from a Hungarian, an
Italian, or a Swiss. External nature, manners and
customs of countries, must always influence productions
of art. Not only must art be an expression of its time, but
as well of nationality, by which especially the rhythmical
traits are affected. We find this notably in French music.
The graceful minuets and trios of Haydn and Mozart had
been impossible, had not those composers lived in Vienna.
It is a privilege of genius in works of art, to ennoble and
refine upon national types ; but should this national ex-
pression predominate over higher requirements, we must
view it as a blemish. The Polish nationality of Chopin
is too prominently felt through only partially concealed
mazurka and polacca rhythms, in most of his works, which
lessens the worth of productions that would otherwise be
magnificent. Works of high art should be universal. In
ideal beauty there can be no nationality ; the inspiration,,
whether of an Italian, a German, an Englishman, or a
Frenchman, differs not in quality. To be enabled to offer
a correct judgment of a piece of music, the chief condi-
tions are intimate acquaintance with the forms of different
movements and features of melody, rhythm, and harmony
'proper to them. It is not so difficult to acquire this-

July I, 1871.]

THE MONTHLY MUSICAL RECORD.

knowledge as might be supposed. The form of a sonata,
for example, is the same as that of a symphony, only the
proportions of it are less. It may therefore be at once
seen that a subject that would suffice for a sonata would
want breadth for a symphony, and vice versd. Although
Beethoven introduced symphonic ideas into his sonatas,
on close examination it will be found that they were not
of sufficient importance to bear the severity of writing a
symphony requires. E. P R.

ON THE BEATS OF CHORDS AND SUB-
HARMONICS.

BY W. S. B. WOOLHOUSE, F.R.A.S., ETC.
( Continued froi?i page 30. )

The general principles of beats and subharmonics are
briefly explained at page 18, and some examples of the
relations existing amongst the beats of imperfect con-
cords are given on page 30. For a triad of notes, if ™,
~, '=2 be the simplest fractions which represent the cor-
responding intervals of the three pairs of notes, when
perfect, so that —

m mi — »*2 (A)

>t' m «2 ''

the relation amongst the beats of the tempered triad is
there shown to be —

/32 = =2/3 + =£/?, .

(B).

Here it may be pointed out that (3 denotes the number of
beats produced, in a given interval of time, when the two
lower notes of the triad vibrate together ; j8i; the number
of beats produced in like manner by the two upper notes ;
and j32, the number of beats produced by the two extreme
notes of the triad. The numbers /3, /3„ j32 are also to be
severally estimated as positive or negative, according as
the respective intervals are tempered sharp ox flat.

A somewhat interesting example presents itself in the
case of the first inversion of the minor triad, the con-
stituent intervals of which are a major third and fourth
making together a major sixth. The relation (A) amongst
the intervals is —

il s= 3. .... (A).

S 4 S

And the relation amongst the beats according to the
formula (B) is /32 = | /3 + | /3,, and reduces simply to —

ft = P + ft (B).

This remarkable result, peculiar to this particular chord,
may be enunciated thus : —

If the notes constituting the first inversion of a minor triad be
slightly tempered, in any manner, so that the intervals may be
nearly but not quite perfect, the beats produced by the two
extreme notes forming the major sixth will be precisely equal to
the sum of the numbers of beats separately produced by the major
third and fourth into which it is divided, when the two intervals are
tempered both sharp or both flat ; and it will be equal to the
difference of those numbers when one interval is tempered sharp
and the other fiat.

Hence also is deduced another simple and curious
property, viz. : —

If the two extreme notes of the first inversion of the minor triad
form a perfect major sixth, the same being free from beats, the two
constituent intervals of the chord will always beat at precisely the
same rate.

It is almost unnecessary to repeat, what is so obvious,
that the properties of beats may be made subservient to
the tuning of organ-pipes and other sustaining combina-
tions, in exact accordance with any special system of
temperament. Further examples of the beats of imper-

fect concorjds will not here be needed ; the student will
not fail to perceive that the foregoing general formulas
(A) and (B) may be similarly applied to determine the
conditions amongst the beats of any other triad or chord,
whatever may be its elements.

A phenomenon similar to that of beats attends the
joint vibrations of two notes which form an interval of
perfect intonation. If P denote the number of vibrations
of the lower note in one second ; Q, the corresponding
number for the upper note ; and ^ , the fraction belonging
to the interval : then the vibrations of the two notes will
come round to an exact or simultaneous coincidence after
a regular succession of intervals of time, each of which
determines what is called the cycle of the chord (see page
18). The time of this cycle in parts of a second is there
found to be

t=7=l (Q.

And the number of cycles passed through, or the number
of resulting pulsations in one second, is hence
H=Q = Q=1L _ _ (D).

When these pulsations exceed thirty per second they pro-
duce the grave sub-harmonic of Tartini, known as the
third sotind; when less than that number, the series of
coincidences of the vibrations in successive cycles, instead
of causing the sensation of a continued sound, are heard
as separate pulsations or flutterings.

In order that these phenomena may be audible and
distinct, it is requisite that the coincident vibrations
should be precisely simultaneous in every cycle ; and
this condition requires that the interval between the two
given sounds should be diatonically exact.

Example. — The two lower open strings of a Contra-
basso perform P = 54 and Q = 72 vibrations in one
second. The interval between these sounds being a
perfect fourth, we have also m = 3, n = 4. The number
of pulsations of the cycle, according to (C), is therefore

-^ = ■£■ = 18 per second,

and ought to be sensible to the delicate ear of the per-
former in tuning his instrument.

A similar fluttering pulsation should be discernible
when sixths, major or minor, perfectly in tune, are steadily
sustained on the lowest strings of the violoncello.

For all diatonic intervals not exceeding a perfect fifth,
whether forming a consonance or dissonance, we have
n — m = 1. Consequently in all these cases, according to
(D), the number of pulsations of the cycle in one second
is equal to the difference between the numbe*s of vibra-
tions of the two sounds. Thus, in the example last given,
the pulsations are 72 — 54 = 18 per second.

As it may be useful for future reference, I annex a brief
statement of the numbers of vibrations per second of the
open strings of the principal stringed instruments.

Contra basso.
54, 72, 96.

Violino.
192, 288, 432, 648.

LEEDS TOWN HALL ORGAN PERFORMANCES.
The last recital for the season took place on June 13th. The
programme included Handel's organ concerto, No. 2 (B flat) ; a
selection from Beethoven's sonata in e flat (Op. 7); a fantasia in the
form of an offertoire (c major), by Berthold Tours ; and a first per-
formance of a romanza by Gounod, in c minor. The selection was
beautifully played throughout; and there was an appreciative audi-
ence. Since August last Dr. Spark has introduced at these interest-
ing recitals quite a formidable list of new organ music. The follow-
ing are the names of a few of the pieces which during this period he
has been at the pains to bring before the public :— Praeludium et

THE MONTHLY MUSICAL RECORD.

[July I, 1871.

F uga (Sigismund Baumer) ; concert fantasia in E flat (Adolphe
Thomas); fantasia in A flat (Moritz Brosig) ; toccata, D minor
(Otto Succo) ; fugue, C minor (Schumann) ; several pieces by Alex.
Guilmant ; two fugues (Tiipfer) ; three preludes and fugues from
the new folio edition of " Bach's Werke" (J. S. Bach) ; several
andantes, fantasias, postludes, &c. (Henry Smart); prelude and
fugue (Ouseley) ; and sonata in c (Macfarren). In addition, he
brought forward many pieces from the Organist's Quarterly
Jojirnal, by Smart, Tietz, Otto Deniel, Merkel Tours, Prout,
Schwenke, Osterholt, Stephens, &c. ; selections from Benedict's St.
Ptter, Hiller's Nala and Damayanti, and Barnby's Rebekah; the
International Exhibition Music for the opening, May 1st, by Gounod
and Dr. Hiller ; a selection from the overtures and works of Auber,
"in Memoriam;" overtures by Spontini, Schubert, and Gliick ;
arrangements from the symphonies of Haydn, Mozart, Beethoven,
and Gade ; marches, operatic selections, and chamber instrumental
music ; fantasias by Wm. Spark on the war-songs of Germany and
France, &c. &c. — Leeds Mercury.

MUSIC IN NORTH GERMANY.
(FROM our special correspondent.)

Leipzig, June, 1871.
The last (fourth, fifth, and sixth) trial concerts of the Con-
servatorium of Music took place on the 17th, 25th, and
26th of May. These are the last concerts of the season,
and we have to expect no more musical performances at
the Gewandhaus. Only at the end of September these
halls dedicated to art will be opened again.

From the three trial concerts mentioned above we can
point out the rendering of Chopin's F minor concerto for
pianoforte (second and third movements) by Fraulein Anna
Rilke, from Teplitz, as a performance quite perfect both
as regards technical execution and intellectual appreciation.
Among the youthful composers who are for the time
being still pupils of the institute, we can name two as
being really gifted. They are Messrs. Willem de Haan,
from Rotterdam, and Jacob Kwast, from Dordrecht,
Holland. Of the first-named gentleman we heard an
overture to Andersen's fairy tale, Die Kleine Seejung-
frau, for orchestra, and a sonata for pianoforte and violin.
The overture attracts by lovely themes and a telling in-
strumentation, chosen with taste and fine feeling. On the
other hand, the construction of the work shows at times
pupil-like awkwardness, betrayed partly by the planless
and aimless use of the themes, partly by too great breadth
and extension. More organic, worked with more artistic
freedom, and riper as regards counterpoint, we found the
violin sonata by the young composer. Here we do not
find similar thoughts, one put by the side of another, and
connected externally ; but a natural internal development
of characteristic well-invented ideas. Much pleasure was
given us by the four Phantasiestiicke for pianoforte, com-
posed by Herr Kwast. There invention of the fresh-
ness of youth, natural grace, independence of thought, and
blooming imagination are to be found. Particularly
lovely is the fourth " stuck," with its bolero-like dancing
rhythm. Both these gentlemen are besides excellent
piano-players, and also in this respect do honour to the
institute where they have been educated.

The Opera brought on the 16th and 17th of May, two
consecutive evenings, Mozart's Cost fan Tutte. The per-
formance was, on the whole, excellent, as a matter of
course. Frau Peschka-Leutner as" Despina obtained
again the palm, but also to the other performers we cannot
refuse the praise of a careful study and loving devotion to
the work. Less good was a performance of Titus on the
27th of May. Fraulein Brandt, of the Royal Opera in
Berlin, was staying here at the time. We have heard
this lady now as Fides in Meyerbeer's Prophet, and as
Ortrud in Lohengrin. The two roles named give suffi-
cient information as to the compass of her voice. At the

same time her organ is well-balanced, and up to the high
B flat rich and well-sounding. Fraulein Brandt is cer-
tainly a very distinguished artist ; she sings and plays
with true dramatic warmth and passion, without ever
overstepping the bounds of the beautiful. It is a pity
that small failings in pure intonation now and then injured
the artistic effect.

After peace has now happily been concluded, our piano-
forte manufactories have begun to be again very busy.
Many a good instrument is being made, and the manu-
factories of Messrs. Breitkopf and Hartel and others
furnish excellent pianos of great beauty of tone. By far
the best instrument, not only of Leipzig, but we believe we
may say of the whole of Germany, we have seen in the
warehouse of Herr Julius Bliithner here ; nobility, blooming
fulness of tone, evenness of the register, light and elastic
touch are the characteristic marks of all instruments from
the factory of Julius Bliithner, and they recommend them-
selves besides by durability and cheapness.

Also the music market brings novelties in great
numbers. So appears at the Bureau de Musique, by C. F.
Peters, a complete collection of all the works by Franz
Schubert, amongst which are the valuable orchestra scores
of the C major symphony, Adagio of the Tragic Sym-
phony, the two movements of the unfinished symphony in
B minor, in correct and beautiful editions, at extremely low
prices.

Amongst the novelties for pianoforte published by
Herren Breitkopf and Hartel, we direct the attention of
our readers to a work — Variations on an Original Theme in
the Strict Style by S. Jadassohn.

To the letters of Felix Mendelssohn-Bartholdy lately an
addition has been furnished ; by Fr. Wilh. Griinow here
have been published " Acht Briefe und ein Facsimile von
Mendelssohn," which we highly recommend to the English
public.

The Berlin Royal Opera brought only repetitions of
well-known works, and was only enlivened by the per-
formance of the excellent tenor Walter, from Vienna, who
appeared for a short time as visitor. The great concert
institutes have there, as with us and everywhere in Ger-
many, ceased to perform. Only smaller choral societies'
performances took place now and then, mostly for charit-
able purposes. The programmes of these offer nothing
of importance.

From Hamburg we have to report additionally the per-
formance of the St. Matthew's Passion, on the 4th of
April. The Hamburg stage was closed on the 1st of
May, after Wagner's Meistersinger had been given pre-
viously, with complete success. On the 1st of September
the theatre is to be opened again.

At Liibeck, at the last Museum concert a symphony
and a newly-composed Friedens-Marsch by Capellmeister
Hermann were performed. Both works found a favour-
able reception.

*#* We regret to be unable to give our readers a letter
from Vienna in this number, as usual ; as our esteemed
correspondent there has been dangerously ill, and is, we
believe, still confined to his bed. We shall hope to have
a letter from him in our next.

THE HANDEL FESTIVAL.

The triennial Handel Festival at the Crystal Palace has taken place
during the past month, with, from a musical point of view, even
more than the usual measure of success. Into the history of these
celebrations it is not necessary for us to enter at any great length,
as many of readers will probably know as much on the subject as
we could tell them. Suffice it now to say that the first Handel
Festival, properly so called, was held in the year 1859— the cente-

July I, 1871.]

THE MONTHLY MUSICAL RECORD.

nary of the great composer's death. There had been a preliminary
festival two years previously, but this was principally an experiment
to test the suitableness of the Crystal Palace as a place for such
monster gatherings. The result proving satisfactory, the festivals
have been repeated every three years, with constantly increasing
efficiency. The great defect that has usually been noticed in the
Crystal Palace at previous festivals was that, owing to the enormous
size of the central transept in which the performances were held, it
was all but impossible, except in a few favourable situations, to
hear the solo singers to advantage. By the " happy thought " of
spreading an immense canvas "velarium" over the roof, and
enclosing the sides of the transept with canvas walls, this fault was
on this last occasion so far remedied that the solos could be almost
equally well heard in any part. We ourselves, at the performance
of the Masiah, tested this by trying the effect in various parts of
the building ; and even in the unreserved seats we could hear most
distinctly. The great difficulty with which the directors of these
festivals have had to contend may therefore, we hope, be said to be
definitely overcome.

The band and chorus were announced to consist of ' ' four thou-
sand performers." This was somewhat of an exaggeration, as the
list of those engaged (printed with the programmes) gives an aggre-
gate of somewhat under 3,500. Our readers may perhaps be inte-
rested to know the exact numbers. The chorus consisted of 735
trebles, 765 altos, 729 tenors, and 794 basses ; while the band com-
prised 93 first and 72 second violins, 56 violas, 58 violoncellos, and
57 double basses ; 8 each of -flutes, oboes, clarionets, and bas-
soons ; 1 double bassoon, 6 trumpets, 6 cornets, 12 horns, 9 trom-
bones, 3 ophicleides, 2 serpents, 3 pairs of kettle-drums, 1 bass
drum, and 4 side-drums, besides, of course, the large organ, most
judiciously handled by Mr. James Coward. The whole was under
the direction, as at previous festivals, of Sir Michael Costa— a con-
ductor, it is almost needless to say, whom it would be difficult, if
not impossible, to replace for such performances.

The general rehearsal took place on Friday, the 16th ; and
the first bars of the " Hallelujah" chorus, with which it commenced,
must at once have satisfied the audience as to the improvement in
the acoustical properties of the building. There is no need to dwell
on the details of the rehearsal, further than to say that, besides the
" Hallelujah " and "Amen " choruses from the Messiah, the greater
part of the programme for the "Selection " day was gone through,
including the whole of the Deltingen Te Deum ; that several
choruses from Israel were also rehearsed, and that the whole of the
principal performers appeared, with the exception of Mr. Sims
Reeves, who was too hoarse to sing.

The three days of the Festival were, as usual, occupied by the
Messiah, a Selection, and Israel in Egypt. However much lovers
of Handel might desire an opportunity of hearing some of his other
oratorios produced on a scale of such magnificence, it is difficult
to see how any alteration in the plan usually adopted could be
made with advantage ; as most people would consider it little less
than sacrilege to omit the Messiah on such an occasion, while there
are very few who would be willing to substitute any other work for
Israel — undoubtedly its composer's choral masterpiece. There
remains, therefore, only the second day for other music ; and the
directors have very wisely on each occasion introduced as much
variety into the Selection as possible.

The performance of the Messiah on Monday, the 19th, was pre-
ceded by the National Anthem, Sir Michael Costa's effective
arrangement being used. With regard to the oratorio itself, it is
all but impossible to say anything fresh. Few things are more
difficult than to speak of a work so well known and so frequently
performed as this. Our best course is simply to record the leading
facts of the performance, and avoid as far as possible criticising
what has so often been criticised already. There is undoubtedly no
composer, not even Beethoven, whose work will so well bear an
indefinite increase in the number of performers as Handel's. This
arises, we think, chiefly from the breadth of idea which so greatly
distinguishes them ; the composer always lays on his colours with a
thick brush. Haydn's Creation, with the exception of the choruses,
"The Heavens are telling " and " Achieved is the glorious work,"
and perhaps also "The Lord is great," is too light in style to pro-
duce an effect proportionate to such means ; while Mendelssohn —
the greatest master of choral writing since Handel's time— is too
elaborate in orchestral detail to stand the same test. This fact
never struck us more forcibly than in listening to the opening chorus
of the Messiah at the Crystal Palace. Who but Handel would have
ever dreamed of treating such a subject as the phrase of two notes
on the words, "for the mouth of the Lord hath spoken it?" No
better example of what we mean by his ' ' breadth of idea " can be
given. The choruses were throughout splendidly sung ; and the
audience, had the conductor allowed it, would have gladly encored
"For unto us" and the "Hallelujah." The soprano solos were
divided between Madame Lemmens-Sherrington, who sang in the

first part, especially distinguishing herself in the " Nativity" recita-
tives and the florid air, "Rejoice greatly," and Madame Titiens,
who sang in her own magnificent style, " How beautiful are the
feet " and the heavenly (is it treason to add somewhat spun out?)
" I know that my Redeemer liveth," as well as in the short quartetts
in the third part. The contralto music in the first part was admirably
rendered by Madame Trebelli-Bettini, and in the rest of the oratorio
by Madame Patey, who sang "He was despised" with genuine
feeling. The tenor music was to have been divided between Mr.
Vernon Rigby and Mr. Sims Reeves : owing, however, to the con-
tinued hoarseness of the latter, the whole task fell on the shoulders
of the former gentleman ; and we are bound to add that he acquitted
himself so well, especiallyin the trying song " Thou shalt break them,"
as to leave but little to regret in Mr. Reeves's absence. Never before
have we heard Mr. Rigby sing so finely. We must not omit to say
that some of the recitatives and the tenor part of the two short
quartetts were sung extremely well by Mr. Kerr Gedge. The whole
of the bass solos were allotted to Mr. Santley, and it is superfluous
to say that they were sung to perfection. The exquisite accompani-
ments for the wind in " The people that walked in darkness" were
played to a wish; and Mr. Harper's trumpet obligato to "The
trumpet shall sound " was as finished a performance as ever.

The Selection which occupied the second day of the Festival-
Wednesday, the 21st— was in many respects one of special interest.
It began with the whole of the Deltingen Te Deum, a work which
had not been performed in its entirety at the Crystal Palace since
1859. Of the five settings of this hymn which Handel wrote, this
one, composed as a compliment to the king, is not only the best
known, but the finest. The bass solos throughout were sung by
Mr. Santley, the incidental alto solos and the trio "Thou sittest at
the ri°-ht hand of God," in accordance with the custom that obtains
at the3Sacred Harmonic Society (we know not on what authority),
being sung by the full chorus. The wonderful grandeur of some
parts of the work, which are indisputably equal to anything Handel
ever wrote, received full justice in the performance by the choir—
the opening chorus, the splendid close of the chorus "Day by day,"
and the grand finale " O Lord, in Thee have I trusted" being espe-
cially remarkable. Even more impressive, if possible, was the well-
known chorus "To thee, cherubim"— to our thinking, the most
striking portion of the whole, and yet constructed of such simple
materials as hardly any other composer would have ventured to
treat. The effect of the iteration of the word "continually," com-
bined with the phrase "Holy, holy" (which most of our readers
will know is all on one note), was simply overpowering, and perhaps
the grandest effect of the whole Festival. Mr. Harper had again
another opportunity to shine in the trumpet accompaniment of Mr.
Santley's song " Thou art the King of glory," and we need hardly
add that he made the most of it.

To the Te Deum succeeded the greatest novelty of the Festival in
the first organ concerto, with orchestral accompaniments. It is
more than probable that not one of the immense audience had ever
heard one of these fine works as they were intended to be played.
Occasionally one is introduced as a solo at organ performances ;
but they have been so long banished from our concert-programmes
that the revival of one on this occasion was a feature of more than
ordinary interest. The solo part was played to perfection by Mr.
W. T. Best, who introduced near the end of the first movement a
very clever, but very un-Handelian, cadenza. At the rehearsal on
the Friday, whether from unfamiliarity with the instrument, or
from imperfectly calculating the effect of the combinations with the
orchestra, Mr. Best did not seem at all happy in his choice of stops ;
but at the performance on the Wednesday the quality of tone, whe-
ther contrasted or blended with the other instruments, was all that
could be wished. The concerto was most enthusiastically applauded,
as both its own merits, and those of the player, deserved. Our
space will not allow us to specify in detail all the pieces that fol-
lowed. We must, however, mention that Mr. Sims Reeves was,
happily, sufficiently recovered to be able to sing ; and he has pro-
bably never given the great scene from Jephtha, " Deeper and
deeper still," with more perfection, or more earnest feeling. The
other vocalists wereMdlle. Titiens, Madame Sinico, Madame Trebelli-
Bettini, Mr. Vernon Rigby, Mr. Cummings, Mr. Santley, and Signor
Agnesi, whose names will be a sufficient guarantee for the excellence
of their performance. The second part of the programme con-
cluded with the massive eight-part chorus from Athalia, "The
mighty power," which had not previously been performed on these
occasions.

The third part ot the concert consisted of a selection from
Solomon, and included the opening chorus, " Your harps and cym-
bals sound;" the well-known song, "What though I trace,"
admirably sung by Madame Patey ; the air, "With thee the unshel-
tered moor I'd tread," by Madame Sinico ; the so-called "Nightin-
gale Chorus ;" the splendid " From the censer ;" the whole of the
* ' Passion music " (the solos by Madame Patey); the song, " Golden

THE MONTHLY MUSICAL RECORD.

[July I, 1 87 1.

columns," by Mr. Cummings ; and the chorus, " Praise the Lord,"
which brought the second day's proceedings to a brilliant conclu-
sion. The only fault to be found with the Selection was its length —
beginning at two, it was not ended till some time past six.

Space will not allow us to add more than a few lines concerning
the performance of Israc, on the third day of the Festival— Friday,
the 23rd. Fortunately the work is so well known that few words are
needed. It is in the grand double choruses with which the oratorio
abounds that the enormous choir and orchestra are heard to the
greatest advantage. For such music the great size of the transept
is a positive benefit, as it brings out the antiphonal effects with a
clearness impossible of attainment in any ordinary-sized concert-
room. This was especially noticeable in the chorus, "Thy right
hand, O Lord " — with reference to which we must, in the interests of
art, protest most emphatically against the uncalled-for and tasteless
addition by the conductor of three chords at the end— which vul-
garises the close of the piece, and was, we regret to say, not the
only instance of tampering with Handel's text to be heard in the
course of the Festival.

The performance of the Israel, as a whole, was- magnificent,
though marred by occasional shortcomings on the part of the choir,
especially in the chorus, " And with the blast of thy nostrils." Both
this, and some parts of "The people shall hear," were not so well
in; tune as could have been desired. On the other hand, the very
difficult chorus, " He sent a thick darkness," was sung with a pre-
cision which we think we never heard equalled. The " Hailstone "
chorus was given with such effect as to call forth an undeniable encore.
The soloists were Madame Sherrington, Madame Rudersdorff,
Madame Patey, Mr. Sims Reeves (who sang ' ' The enemy said "
with such brilliancy and finish as to provoke universal demand for
its repetition, to which, however, he wisely declined to accede), Mr.
Kerr Gedge, and Messrs. Santley and Foli, who were encored in
the duet, " The Lord is a man of war."

In looking back upon the Festival now past, we cannot but con-
sider it the most successful yet held, musically ; and we should hope
also pecuniarily, as the attendance was very good — on the four days,
we believe, exceeding 83,000.

as in the case of Beethoven's Pastoral Symphony, being constructed
on a definite programme. The opening allegro is entitled, ' ' At
Dawn — Impressions and Emotions.*' The largo bears the motto,
"In the Twilight — Reverie." The scherzo, "which is by far the
best movement of the work, is, "A Dance ofDryads." It is
full of spirit and capitally scored. The finale, which is most
dreadfully diffuse, is described as, ' ' In the Night ; Movements
of the Night in the Forest ; Coming and Going of the Wild Hunt,
with Frau Hulda and Wotan ; Daybreak." Here is a programme
which to a great genius would have given opportunity for a master-
piece ; but Herr Raff's music, though not ugly and never inappro-
priate, nowhere rises above a certain respectable medium. In the
second rank of composers he would hold a good place, but we can-
not consider him entitled to a position among the great masters.

Brimtosu

Nirwana, Symphonisches Stimmungsbild Jur grosses Orchestcr, von
Hans von Buuow (Nirwana, Symphonic Mood-Picture for
Grand Orchestra, by Hans von Bulow). Op. 20. Full
Score. Leipzig : G. Heinze.
HERR von Bulow, the son-in-law of Franz Liszt, has a European
reputation as a pianist of the first rank. As a composer, he belongs
to the extreme new German school. The present work is the first
piece of his which has come under our notice, and we earnestly hope
it may be the last. The word "Stimmungsbild,'1 which we have trans-
lated " Mood-Picture," means more exactly "picture of a state of
mind." We should say that the state of mind depicted in " Nirwana"
was that of a person suffering from a very severe attack of demon-
iacal possession ; for, of all the outrageous conglomerations of
hideousness which we could conceive possible, this is incomparably
the worst. The whole score may be described as a series of howls,
shrieks, and groans from the orchestra. We have waded through
page after page in the hope of finding a rational or pleasing phrase,
but, alas ! in vain. If there were such a thing as a musical " cham-
ber of horrors," this work ought to have a most conspicuous place
therein. As a perfectly unique curiosity of ugliness it may deserve
a place in a collector's library, but for any other reason we are quite
unable to recommend it. It cannot, happily, be considered a fair
specimen of modern German music ; if it could, the art would
indeed be in a hopeless condition.

Im Walde, Sinfonie No. 3, F dur, von Joachim Raff (In the
Forest, Third Symphony in f major, by Joachim Raff).
Op. 153. Full Score. Leipzig : F. Kistner.
Herr Raff, a prominent composer of " young Germany," is a
writer who, like many of his school, possesses every qualification for
a great tone-poet, except the one thing needful — genius. He has
considerable mastery of form, much ingenuity of resource in thematic
development, and handles his orchestra with ability ; but his first
thoughts are wanting in charm, and hence the symphony now before
us must, on the whole, be described as very clever b^ut very dull.
Herr Raff, too, has fallen into the common fault of trying by excess
of development to conceal meagreness of idea. The symphony is
enormously long, the score filling more than 320 pages ; and, as the
writer has nothing particular to say in a great portion of it, the
effect reminds one of a speaker in the House of Commons ' ' talking
against time." The work is in the customary four movements, each,

Mass in F (No. 1), composed by Franz Schubert. In Vocal
Score, the Pianoforte Accompaniment arranged from the Full
Score by Ebenezer Prout. London : Augener & Co.
The analysis of Schubert's Masses, from the pen of the editor of
the work now before us, which has appeared in these columns, ren-
ders it superfluous for us to say one word now with reference to the
music itself. We will content ourselves by referring to the numbers
of the Record for January and February, in which the mass is
described at some length. The present is, we believe, the first
edition of the work which has ever been published in a form acces-
sible to the general public. The masterly orchestral accompani-
ments—abounding in those delicate effects and rich varieties of
detail peculiar to Schubert's instrumentation — are very skilfully
compressed into the pianoforte adaptation. In making this arrange-
ment, Mr. Prout has evinced not only his closestudy of the original
score, but also his thorough knowledge of orchestral writing, and
of the most effective mode of rendering it on a keyed instrument.
By the occasional use of extensions (nowhere largely taxing the
powers of the player), and sustaining the bass notes by the aid of
the damper pedal and then using the left hand for intermediate
passages, a rich and full effect is obtained, strongly contrasting with
the meagre style of arrangement often to be met with in such adap-
tations. The frequent indication of the leading orchestral details
is also a valuable feature in this beautiful edition of Schubert's first
mass, which ought to find a place in the library of every musician.

Franz Schubert's Songs, edited by E. Pauer. Book III.

Dying Strains (Schwancngesang). London : Augener & Co.
This collection of Schubert's songs is among the best known in
this country ; and there is, therefore, no need in this place to do
more than notice the appearance of this new and excellent edition.
It is uniform in appearance with the other books of Schubert's songs,
previously reviewed in our columns ; and, like them, has, besides the
original German words, an English version. The latter is exceed-
ingly well done, and the translator, Mr. Stevens, appears to have
taken more than ordinary trouble to keep close to the original.

The Tritone: A Method of Harmotiy and Modulation. By JOSEPH

Green. London : Novello, Ewer, & Co.
We may state as a prominent feature of this work, that notes beyond
the compass of an octave are regarded merely as repetitions of the
I corresponding primitive notes within the octave. According to a
I similar idea, chords of the ninth are rejected on the ground that all
harmony is comprised within the limits of the octave, and that any
group of notes that does not admit of inversion in all its parts
should not be considered to be a chord. The minor scale, with the
exception only of the second, is shown to be the inversion of the
major scale ; and the chord commonly known as the diminished
seventh, is characterised as the double tritone. As regards the
general theories of progression, modulation, and counterpoint, we
do not perceive that any specific advantage is obtained by a system
of inversion of numbers ; but the work contains much that is
worthy of the attention of the musical student.

Six Characteristic Pieces ftrr the Piano, for Small Hands. Com-

posad by Oscar Beringer. London : W. Czerny.
Few things are more difficult for a composer than to write down to
the level, physical and intellectual, of young pupils. It is probably
for this reason that most of the pieces suitable for beginners (as, for
instance, those of Beyer) are nothing more than easy arrangements
of popular national or operatic airs. With a few exceptions, the
great composers for the piano have written nothing within the reach
of children. One of Mozart's sonatas (in c) is inscribed by himself
1 ' For beginners ; " but, though comparatively easy, it is hardly a
piece suited to the mental capacity of a child. Dr. Kullak has
written some capital little sketches, which are hardly so well known
as they deserve to be ; but undoubtedly the best works of this class
as yet produced are Mendelssohn's "Six Christmas Pieces" and
Schumann's " Album." But in both of these there is much that is

July I, 1871.]

THE MONTHLY MUSICAL RECORD.

only suitable for "children of a larger growth ;" and, therefore, in
the dearth of such compositions, it is with hearty pleasure that we
welcome such attempts as the present to supply a want which most
teachers have felt. Mr. Beringer has taken Schumann as his model
— that is, as regards the form of his pieces. He possesses a good
vein of pleasing and healthy melody, which nowhere descends to
vulgarity ; his harmonies are good and well varied, without being
too abstruse for juvenile comprehension ; and the passages are im-
proving as practice, and carefully fingered throughout. We have
not for some time seen any pieces which more satisfactorily answer
the end for which they are designed, and we have great plea sure
in heartily recommending them.

Stabat Mater for two equal voices, with Accompaniment for the
Organ or Pianoforte. Composed by J. Lodge Ellerton.
Op. 130. London : C. Lonsdale.
Mr. Ellerton is one of the most industrious and voluminous of
amateur composers. There is, perhaps, hardly a single class of
composition which he has not essayed. From the oratorio to the
ballad in vocal music, and from the symphony and quartett down to
the merest bagatelle for the piano in instrumental, he is equally
ready to grapple with every "style of writing. The " Stabat Mater
is distinguished by the same general characteristics as the other
works of his which we have seen — -considerable fluency and a good
knowledge of harmony. The work suffers from the monotony,
almost inevitable in so long a composition, arising from the exclu-
sive use of the female voices in two parts. Of course there is fuller
harmony in the accompaniment ; but the effect, it need scarcely be
said, is not the same as that of a chorus of mixed voices. The
piece is in thirteen short movements, including, besides the two-part
choruses already referred too, various solos for the first and second
treble voices. Among the best numbers are the airs " Eja Mater "
and " Fac ut poi-tem," and the chorus " Sancta Mater." The
whole work is creditable to the musicianship of the composer ; but
we must in justice add that the general effect strikes us as somewhat
dry.

Two-Part School Songs for Advanced Singing Classes. Three-
Part School Songs for Higher Singing Classes. New Kinder-
Garten Songs. By J. F. BoRSCHlTZKY. London : J. F.
Borschitzky.
This set of part-songs is intended for use in classes where tenor and
bass voices are not obtainable. An ad libitum pianoforte accom-
paniment is added for guidance in practice. They are of various
degrees of difficulty, the "Kinder-Garten" songs being, as their
name implies, suited for quite young children, and therefore propor-
tionately easy ; while the other pieces (some of them, at least) make
considerable demands upon the power of the singers. These latter
also contain passages of imitation, which will be useful in training
the pupil's taste in a right direction. Many of the songs are con-
structed on popular dance rhythms ; and the occasional infusion of
a little fun into the words will not render them less to the taste of
the young singers who practise them. One of the best pieces is a
capital dramatic setting of Longfellow's poem, "The Happiest
Land," in which the contention of the Suabian, Saxon, and Bohe-
mian as to the relative merits of their countries is most amusingly
treated. The whole of these part-songs are evidently the work of
an earnest and experienced teacher.

Two Sonatas for Piano Duet, by MozART (in B flat and d),

arranged for Piano Solo by E. Pauer.
Beethoven's Duet-Sonata (in d, Op. 6), arranged for Piano Solo

by E. Pauer. London : Augener & Co.

In arranging for two hands a piece originally written for four, there
are two difficulties to be avoided. On the one hand there is the
danger that in the endeavour to preserve as much as possible of
the original, the piece will be made so hard as to be out of the reach
of ordinary players ; or, on the other hand, in attempting to sim-
plify, so much may be omitted that the arrangement becomes a
mere outline sketch, instead of as far as possible a reproduction of
the composer's intentions. Herr Pauer has attained the happy
medium between these two extremes. In many passages compres-
sion of the harmony has of course involved a certain loss of fulness ;
but all the more important points are retained, and those pianists
who have no opportunity for duet-playing will, we are sure, welcome
the issue of these sonatas in a form which will be available to them.
The works themselves are so well known that it is needless to add
one line in their recommendation.

When I am Dead, Song ; words by Christina Rosetti, Music
by F. Walton Gillibrand (Manchester : Hime & Addison), is a
simple and flowing ballad, not bad of its kind.

The Old Roof-Tree, Song, by R. Andrews (London: Wood
& Co.), is a natural and pleasing (if not very novel) melody, set to
words which are sure to find favour. The large number of people
who are fond of songs of the good old sort, will find this one worthy
of their attention.

Capricclo, for the Pianoforte, by Westley Richards (London :
Lamborn, Cock, & Co. ), is quite equal, if not superior, to either of
the pieces by the same composer that have previously come under
our notice. The themes are well treated, and the passage-writing
shows a thorough knowledge of the instrument.

Spinnlied, for the Pianoforte, by G. J. Van Eyken (London :
Augener & Co.), is a very pleasing piece, brilliant and showy, with-
out being unnecessarily difficult. It can be heartily recommended
to teachers.

MUSIC RECEIVED FOR REVIEW.

DAlquen, F. M. " Cheer me, gentle Sleep," Song. (London :
Wood & Co.)

Gilbert, Bennett. Three Musical Sketches for Piano. No. 2.
(London : W. Czerny.)

Gladstone, F. E. Andante in A for the Organ. (London : R.
Limpus.)

Gladstone, F. E. Anthem, " The Lord is my portion." (Lon-
don : R. Limpus.)

Gladstone, F. E. Evening Hymn, "Through the day thy love
hath spared us." (London : R. Limpus.)

Schwelser, O. "Ballade pour Piano." (Edinburgh: Paterson
&Sons.) ________

TO CORRESPONDENTS.

"Theodora" will find what she writes to ask for in our June
number, on the second column of p. 80.

"One of the Musical Profession" (Chester) is thanked for
the contribution, which, however, is respectfully declined, as Dr.
Johnson has not been sufficiently consulted.

Hymn Tunes, by Robert M. Milburn, Part I. (London :
Novello, Ewer, & Co.). Mr. Milburn has a good feeling for music,
but his harmony is — well, we will not express any opinion on the
subject, but merely say, that if he will study diligently we think he
may write very good tunes.

"TO BE, OR NOT TO BE."

PARAPHRASE.
{Translated from "A travers Chants" by Hector Berlioz.)

To be, or not to be ; that is the question : whether 'tis
nobler in the mind to suffer wretched operas, ridiculous
concerts, mediocre virtuosi, enraged composers, or to take
arms against a sea of troubles, and by opposing end them?
To die, to sleep, no more ; and by a sleep to say we end
the ear-splittings, the sufferings of the heart and reason,
the thousand shocks imposed by the exercise of criticism
on our intellect and our senses ! 'Tis a consummation
devoutly to be wished. To die, to sleep ; to sleep — per-
chance to dream : ay, there's the rub ; for in that sleep of
death what pangs may come when we have shuffled off
this mortal coil — what mad theories we may have to
examine, what discordant scores to listen to, what fools to
praise, what outrages to see inflicted on masterpieces,
what windmills taken for giants — must give us pause.
There's the respect that makes the wretched critic of so
long life. For who would bear the society of a senseless
world, the spectacle of its folly, the contempt and blunders
of its ignorance, the injustice of its justice, the icy indif-
ference of its rulers ? Who would be blown about by the
breath of the least noble passions, the meanest interests
taking the name of love of art, who would lower himself
to discuss absurdity — be a soldier, and teach his general
to give the word of command — a traveller, and guide his
guide, who nevertheless loses his way — when he himself
might his quietus make with a flask of chloroform, or a
bare bodkin ? Who would be content to see in this lower
world despair spring from hope, lassitude from inaction,
rage from patience — but that the dread of something
after death, the undiscovered country from whose bourne
no critic has returned, puzzles the will. — Soft you now !
it is not even permitted to meditate for a few minutes !

THE MONTHLY MUSICAL RECORD.

[July i, 1871.

The young singer Ophelia, armed with a score, and forcing
a smile ! What would you from me ? flatteries, is it not,
always ?

No, my lord, I have a score of yours, that I have longed
long to rc-deliver ; I pray you now receive it.

No, not I ; I never gave you aught.

My honoured lord, you know right well you did ; and
with it words of so sweet breath composed as made the
things more rich ; take it again, for to the noble mind,
rich gifts wax poor when givers prove unkind. There,
my lord !

Ha, ha ! have you a heart ?

My lord !

Are you a singer ?

What means your lordship ?

That if you have a heart, and are a singer, the woman
of feeling should have no discourse with the vocalist.

Could the one, my lord, have better commerce than
with the other ?

Ay, truly: for the power of talent like yours will sooner
pervert the noblest impulses of the heart, than the heart
will give nobleness to the aspirations of talent. This was
sometime a paradox ; but now the time gives it proof. I
did admire you once.

Indeed, my lord, you made me believe so.

You should not have believed me. My admiration had
no reality.

I was the more deceived.

Get thee to a nunnery. What is thy ambition ? A
celebrated name, plenty of money, the applause of fools,
a titled husband, the name of duchess ? Yes, yes, they
all dream of marrying a prince ! Why wouldest thou be
a breeder of idiots ? _

O help him, ye sweet heavens !

If thou dost marry, I'll give thee this plague for thy
dowry: let an artiste be as chaste as ice, as pure as snow,
she shall not escape calumny. Get thee to a nunnery,
go ! farewell. Or if thou wilt needs marry, marry a fool ;
for wise men know well enough what torments you reserve
for them. To a nunnery go, and quickly, too. Farewell.

0 heavenly powers, restore him !

1 have heard of your vocal coquetries, too, well enough,
of your amusing pretentions, of your foolish vanity. God
has given you one voice, and you make yourselves
another. A masterpiece is entrusted to you, you pervert
it, mutilate it, change its character, dress it out with
wretched ornaments, make insolent cuts in it, introduce
grotesque passages, laughable arpeggios, facetious trills ;
you insult the master, people of taste, art, and common
sense. Go to, I'll no more on't. To a nunnery go ! (Exit.)

Young Ophelia is not altogether wrong ; Hamlet has a
little lost his head. But it will not be noticed in our
musical world, where every one at present is completely
mad. Besides he has lucid moments, this poor Prince of
Denmark ; he is but mad north-north-west ; when the
wind is southerly, he knows a hawk from a hand-saw.

Concerts, $zt.

PHILHARMONIC SOCIETY.
The sixth concert of the Philharmonic Society, on the 7th of June,
brought forward Mozart's lovely and ever-welcome symphony in
G minor —a work which, perhaps more than any other in existence,
shows how it is possible in music to express passion without noise.
Probably no such fiery composition for the orchestra was ever
written without trumpets or drums. The other symphony was
Beethoven's ' ' Pastoral. " The overtures were Weber's Euryanthe
and Mr. Cipriani Potter's Cymbeline. It is creditable to the direc-

tors of these concerts to bring forward from time to time the works
of Englishmen. Mr. Potter's overture was well played and most
warmly received. Signor Sivori played Paganini's concerto in
B minor, and the vocal music was contributed by Mdlle. Titiens and
Mdme. Trebelli-Bettini.

The seventh concert (on the 19th) included in the programme one •
of Haydn's many symphonies in C, and Beethoven's fourth sym-
phony in B flat. Herr Strauss played a concerto by Viotti, and
Mdme. Goddard performed in her own most finished manner Sir
Sterndale Bennett's concerto in F minor. The persistent efforts of
this lady to familiarise the public with the works of one of our most
talented native composers, deserve the heartiest recognition and
gratitude of English musicians.

MR. W. C. ALWYN'S CONCERT.
The production of a new mass by an English composer is an event
of such infrequent occurrence that it would deserve notice in our
columns, independent of the merits of the work itself. Such an
attraction was offered at Mr. Alwyn's Concert at St. James's Hall,
on the 31st of May, and it says but little for the interest taken by
the musical public in native talent, that the hall was by no means
full. To write even a decently good mass is no easy task, and we
have therefore much pleasure in congratulating the young composer
on the considerable measure of success that has attended his efforts.
Without being able honestly to say that, the work is a masterpiece
of the highest order, we can at least say that it shows more than
ordinary promise, and that we think Mr. Alwyn has made a very
successful debut as a composer. He has a good flow of natural and
unborrowed melody, harmonises well, and understands the manage-
ment of the orchestra, though he exhibits too great partiality for the
brass instruments. The movements which pleased us most were the
" Kyrie," "Gloria," and "Benedictus." The least successful portion
of the work we consider to be the "Credo" (the most difficult part of
the text to set well), which is marred ;by crudities, that more expe-
rience will doubtless enable the composer to correct. The perform-
ance of the mass was, on the part of the orchestra, very good ; on
that of the chorus, very indifferent. This, we think, arose partly
from insufficient rehearsal, but partly also from the difficulty of the
music. Mr. Alwyn would, we think, do well in future works to
study the convenience of his choristers somewhat more. Nothing
is gained in effect, while much is lost in performance, by writing
passages which are beyond the reach of an ordinary chorus without
a great deal of practice. We have made these criticisms on the
work in no unkind spirit ; indeed, had we not felt much interested
in it, and much hope in the young composer's future, we should
not have devoted so much space to the notice of the performance.
We must add that the solo parts were very well sung by Mdme.
Sherrington, Miss Rebecca Jewell, Messrs. Frederick Walker and
Lewis Thomas ; and that the mass (which was preceded by the
overture to St. Paul) was conducted by Mr. Manns. The second
part of the concert was miscellaneous.

MR. WALTER BACHES CONCERT.
This most interesting concert took place at the Hanover Square
Rooms on the 26th of May — just too late, unfortunately, for notice
in our last. It contained, however, features of such special note
that, though so much after date, we cannot omit to mention it now.
Mr. Bache is a pupil of Liszt, and is not only a pianist of very high
attainments, but an ardent disciple of the "music of the future."
On the present occasion he brought forward two important com-
positions by his master — the piano concerto in e flat, and the
" Poeme Symphonique " entitled Les Preludes, the first of which has
seldom, and the latter, we believe, never before, been heard in
England. They are both full of interesting and striking ideas, but,
owing to the disregard of form so characteristic of the new school,
fail on the whole in producing a satisfactory impression. The
enormously difficult concerto was played by Mr. Bache in a most
masterly manner ; and he also performed Liszt's transcription of
Bach's A minor fugue. The remainder of the programme con-
sisted of Gluck's overture to Iphigenie en Aidide, with Wagner's
ending, and vocal music by Schubert, Schumann, and Liszt, inter-
preted by Miss Clara Doria and Mr. Nordblom.

Mr. Charles Hallo's Recitals, the earlier of which were mentioned
in our last number, have been continued and brought to a close
during the past month. Besides completing the performance of the
entire series of Beethoven's sonatas for piano and violin with Mdme.
Norman-Neruda, he has also played with that lady Schumann's two
sonatas in A minor and D minor (Op. 105 and Op. 121), Men-
delssohn's sonata in f minor (Op. 4), Dussek's sonata in b flat, and
two of Mozart's sonatas for piano and violin. Mr. Halle" also
played solos by Bach, Beethoven, Schubert, Schumann, &c.

July I, 1871.]

THE MONTHLY MUSICAL RECORD.

The concerts of the Musical Union during the past month have
fully sustained their character, both in the attractive nature of the
programmes and the excellence of the performances. At the fourth
matine'e, the works produced were Brahms' very original but diffuse
piano quartett in A, Op. 26 ; Beethoven's quartett (No. 10) in E flat,
Op. 74; and Mendelssohn's well-known sonata in d, for piano and
violoncello. Herr Jaell was the pianist, Herr Heermann the first
violin, and M. Lasserre the violoncellist, the last-named gentleman
especially distinguishing himself in Mendelssohn's grand duet. At
the next concert the quartetts were Haydn in G (No. 29) and
Beethoven in E minor, Op. 59 (No. 2). The other piece was
Mozart's piano quartett in G minor, in which M. Saint-Saens from
Paris proved himself a classical pianist of a high order. The fol-
lowing week's concert included Mozart's quartett (No. 7) in D;
Schumann's piano quintett, Op. 44; and Mendelssohn's first quar-
tett, Op. 12. The programme of the eoth consisted of Schumann's
quartett in A, Rubinstein's piano trio in B flat, and Haydn's quartett
in G, No. 81. The pianist, both at this and the preceding matine'e,
was Herr Leschitetsky, a distinguished Polish virtuoso, who, if we
are not mistaken, played at the Musical Union last year.

Mr. Walter Macfarren's third and last Matine'e, on June the 3rd,
was quite equal in interest to those that had preceded it. Besides
some of his own elegant morceaux de salon, Mr. Macfarren per-
formed Mozart's piano quartett in G minor, his own capital sonata
in F for piano and violin (about which we need only repeat the
favourable opinion we expressed of it a few months since, on the
occasion of its performance at one of Mr. Ridley Prentice's con-
certs), and Mendelssohn's trio in D minor. The violin, viola, and
violoncello in the various concerted pieces were held by Messrs.
Sainton, Burnett, and Pezze respectively. Mr. Macfarren also
played, with Miss Linda Scates, Mendelssohn's duet, Op. 92. The
vocalists were Miss Edith Wynne and Miss Alice Ryall.

Mr. Sydney Smith's third Recital took place at St. George's
Hall. The chief feature of the entertainment was naturally Mr.
Smith's performance of his own brilliant pieces; but he also (as at
his previous recitals) proved his ability as a classical player. Beet-
hoven's trio in B flat, and two movements from Dussek's sonata in
the same key for piano and violin (with Mr. Henry Holmes), were
both excellently rendered. Miss Agnes King, a pupil of Mr.
Smith's, also performed a duet with him in a manner which proved
him to be a good teacher as well as a good player. The two
things, unfortunately, do not invariably go together.

Miss Annie Stocken gave a very interesting concert at the
Assembly Rooms, Kennington Park, on the 14th of June. She
played 'with Mr. Burnett and Mr. Pettit, Bennett's trio in A ; and
with Mr. Burnett, Beethoven's sonata in F, for piano and violin.
Her selection of solos also showed her good taste, the pieces chosen
being Mendelssohn's Rondo Capriccioso, the third of Schumann's
Phantasiestiicke, and Weber's Rondo in c. Various vocal and
instrumental pieces of the usual miscellaneous description com-
pleted the programme.-

The College of Musicians (a society, we believe, only recently
established) gave its first public concert at the Albion Hall on the
8th ult. The programme, besides many well-known pieces, in-
cluded several compositions by members of the society. Some of
those announced were, however, not performed— among these a
sonata by Mr. Alfred Mullen, about which we felt some curiosity,
as it is but seldom that an opportunity is afforded of hearing a new
sonata by an Englishman. An apology was made for Mr. Mullen's
absence through illness, and the work was therefore obliged to be
omitted. Among the best pieces may be specified a very pleasing
trio by Mr. W. C. Filby, "A Vesper Prayer," and a very well-
written and effective MS. duo for the piano by Mr. C. E. Stephens,
capitally played by the composer and Mr. W. Layland, and received
with great applause. If the society will persevere in the course of
affording native composers an opportunity of a public hearing, it
will deserve, and we hope will receive, hearty support.

Jflustcai f}oU$.

The opera concerts at the Crystal Palace have been successfully
continued during the past month.

The great organ in the Royal Albert Hall is as yet unfinished. As
performances on the instrument were announced as a special feature
in connection with the Exhibition, it does not seem very creditable
to those concerned, that three months after the opening of the hall
the organ should still be incomplete.

A very successful concert of certificated Tonic-Sol-faists was
given at the Albert Hall on the 7th ult.

As bearing upon the subject of our leading article this month, it

is worthy of mention that at the recent examinations in music by the
Society of Arts, Tonic-Sol-faists have carried off the lion's share of
both certificates and prizes. Mr. Hullah's examination in the
Theory of Music was conducted in the ordinary notation, and
Tonic-Sol-faists have taken both prizes, and 59 out of 73 certifi-
cates ; and in Mr. Macfarren's examination in Composition, in which
the candidate has the option of writing his answers in either nota-
tion, they have taken 52 out of 55 certificates.

Schubert's mass in e flat was repeated at St. Alban's, Holborn,
on the 18th and 25th of last month. Mr. Alfred J. Sutton, the con-
ductor of the Birmingham Amateur Harmonic Association, writes
to correct the statement in our last, that the previous performance
of the mass at the same church was the first in England, and in-
forms us that it was given by his society about three years ago. We
are glad to give our Birmingham friends the credit they deserve.

M. Maillart, the composer of the operas of Lara and Les
Dragons de Villars, has lately died at Moulins.

The programme of the Beethoven Centenary at Bonn, which was
postponed last year in consequence of the war, is now issued.
Among the chief works to be performed are the mass in D, the
Eroica, c minor, and Choral Symphonies, the violin concerto
played by Herr Joachim, and the piano concerto in e flat played
bv Mr. Charles Halle".

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%\t iSnnijjIjT SUtskad §cr0tb.

AUGUST 1, 1871.

MUSICAL NARROW-MINDEDNESS.

There is a certain class of musicians who, sometimes
from prejudice, but more often, we think, from a certain
kind of narrow-mindedness, which is more to be pitied
than blamed, make a practice of slighting, if not sneering
at, most or all of the works of the older masters. Such
are the men (not unfrequently, we regret to say, to be met
with) who decry Handel's oratorios as heavy, credit Haydn
with cleverness in treating his subjects, but add, " What a
pity he was not more particular in his choice of subjects ! "
or,'if piano music is the subject of conversation, talk of
Dussek's and dementi's sonatas — sometimes, also, of
Mozart's— as "mere passage-writing." It is, we fear,
of little use to attempt to convince them of the fallacy of
their views ; because, as they appear to be destitute of the
faculty of appreciating the class of music which they
despise, it would be just as reasonable to argue with a
blind man about colours, or a deaf one about sounds.
But as their opinions are calculated to mislead others
who have not well considered the subject, we propose, in
this paper, to give our reasons for believing that .they are
altogether erroneous.

And first let us say that a piece is by no means neces-
sarily good because the name of a great man is attached
to it. Nothing is more misleading and unreasonable than
to judge merely by names. Many of Haydn's quartetts,
and of the piano sonatas of the same composer, Clementi,
and Dussek, are very weak, and no longer possess more
than a merely historical interest. Much is.to be found in
Handel's oratorios written in accordance with the taste of
a by-gone age, and which would be simply insufferable in
a concert-room at the present day. Even Beethoven —
the usual standard of measurement with the exclusives, on
whose Procrustean bed all other composers must be
stretched — has written works which (though some may
think it little short of blasphemy to say so) are not by any
means worthy of his great reputation. But, after making
every deduction of this kind, the fact remains, that the
older masters, with much that is now out of date, have
written works of imperishable beauty, that will continue
to charm true lovers of music to the end of time.

The fundamental error lying at the root of the opinions
we are combating consists in overlooking the fact that
music, like every other art, is necessarily progressive in
its tendencies. The same feeling which leads one class of
musicians to disparage Haydn and Mozart, because they
have not come up to Beethoven, leads others in a precisely
opposite direction to cry out against Schumann, and the
modern German school, because, in some respects, they
have gone beyond him. To form a fair judgment of a
composer he should be compared not with his successors,
but with his predecessors and contemporaries ; and it
should not be forgotten that Beethoven was not more in
advance of Haydn and Mozart than these latter were of
those who had preceded them. And independently of
this comes another not unimportant consideration — that a
work which is beautiful in itself must always remain so,
and does not become less worthy of our admiration
because finer works have been subsequently composed,
and the resources of the art have been further developed.
If a man professes himself unable to enjoy the simpler
music of the old masters, it must be either because his
palate has been corrupted by too exclusive a diet of

musical "stimulants," or because (as mentioned above)
the natural faculty of appreciation has been denied him,
In either case we can only pity and leave him.

But the argument may be carried further. If the com-
posers of the last century are to be disparaged because
their successors have surpassed them, then Beethoven
himself may be slighted for the very same reason. In
common with most musicians we regard him as the
greatest tone-poet that the world has ever yet seen, but
we cannot admit that he has spoken the last word possible
in the art ; and it is indisputable that in many respects
some of his successors have gone further than he. His
pianoforte sonatas are undoubtedly far in advance of
Haydn's and Mozart's, but in developing the resources
of the instrument he has been surpassed by Mendelssohn
and Schumann— to say nothing of Thalberg and Liszt.
The scores of his predecessors are far simpler and less
rich in effects than his, but in this point Meyerbeer,
Berlioz, and Wagner have gone far beyond him. Yet we
do not prize the Eroica or the C minor symphony less for
this reason. The beauty of the thoughts is such that we
are content to listen and enjoy, and do not think of making
comparisons.

The whole question seems, then, ultimately to resolve
itself into this : What constitutes beauty in music ? This,
of course, is too large a subject to be entered on here, and
probably no two persons would precisely agree in a defini-
tion of the term. Music acts directly upon the emotions,
and one great charm of it is that the same piece will affect
different hearers in different ways, according to their
mental conformation and temperament. An able article
on " Music and Morals," in the current number of the
Contemporary Review, contains some good remarks on this
subject, to which we may refer our readers. We are most
of us, happily, gifted by nature with more or less power of
enjoying music, and every one must, to a great extent,
be guided by his own feelings in his estimate of its beauty.
But let us take care that we form our judgment, not from
comparison with the works of others, but from its own
intrinsic merits.

THE SYMPHONIES OF BEETHOVEN,

BY HECTOR BERLIOZ.

[The admirable critiques on Beethoven's Symphonies by the late
Hector Berlioz appeared originally in his ' ' Voyage Musical," a work
now out of print. Their author subsequently republished them in
his "A Travers Chants." They have frequently been quoted in
analytical programmes, &c, but have, we believe, never been trans-
lated into English in a complete shape. We think, therefore, that
no apology will be needed for presenting them to our readers in
successive numbers of our paper.— Ed. M. M. R.]

It is thirty-six or thirty-seven years ago since the trial
was made, at the Concerts Spirituels of the Opera, of the
works of Beethoven, then perfectly unknown in France.
One would not believe now-a-days with what reprobation
this admirable music was immediately met by the larger
number of artistes. It was bizarre, incoherent, diffuse,
bristling with harsh modulations and savage harmonies,
destitute of melody, of unnatural expression, too noisy,
and horribly difficult. M. Habeneck, to satisfy the
requirements of the men of taste who then ruled the Royal
Academy of Music, found himself forced to make in those
same symphonies whose execution at the Conservatoire
he subsequently organised and directed with so much
care, monstrous " cuts," such as one would permit at most
in a ballet of Gallemberg, or an opera of Gaveaux.
Without these corrections, Beethoven would not have been
admitted to the honour of figuring, between a bassoon
solo and a flute concerto, on the programme of the

THE MONTHLY MUSICAL RECORD.

[August i, 1871.

Concerts Spirituels. At the first hearing of the passages
marked with a red pencil, Kreutzer took flight, stopping
his ears ; and he required all his courage to resolve at the
other rehearsals to hear what remained of the symphony
in D. Let us not forget that the opinion of M. Kreutzer
on Beethoven was that of ninety-nine hundredths of the
musicians of Paris at this time, and that but for the re-
peated efforts of the imperceptible fraction who professed
the opposite opinion, the greatest composer of modern
times would perhaps to-day be still hardly known to us.
The fact then of the execution of fragments of Beethoven
at the Opera was of great importance ; we can judge of it,
since without it probably the society of the Conservatoire
would not have been founded. It is to this small number
of intelligent men, and to the public, that one must give
the honour of this fine institution. The public, in fact,
the real public, that which does not belong to any clique,
only judges by feeling, and not by the narrow ideas and
ridiculous theories that have been made in art — this
public, which is often deceived in spite of itself, since it
frequently comes to recall its own decisions, was struck
from the first by some of the eminent qualities of Beet-
hoven. It did not ask if such a modulation were relative
to such another, if certain harmonies were admitted by the
magisters, nor if it were permitted to employ certain
rhythms that one did not know previously ; it only per-
ceived that these rhythms, harmonies, and modulations,
adorned with a noble and passionate melody, and clothed
with a powerful instrumentation, impressed it strongly,
and in quite a new fashion. Was more wanting to excite
its applause ? It is only at rare intervals that our French
public experiences the lively and burning emotion that
musical art can produce ; but when it is truly agitated by
it, nothing equals its gratitude to the artist, whoever he
be, that has caused it. From its first appearing, the
celebrated allegretto in a minor of the seventh symphony,
that had been interpolated in the second to make the rest
go down, was appreciated at its true value by the audience
of the Concerts Spirituels. The pit en masse encored it
vociferously, and at the second performance nearly equal
success awaited the first movement, and the scherzo of the
symphony in D, that had been little relished at the first trial.
The manifest interest that the public from that time began
to take in Beethoven doubled the forces of his defenders,
reduced, if not to silence, at least to inaction, the majority
of his detractors ; and by degrees, thanks to those beams
of dawn announcing to the clear-sighted on which side
the sun was going to rise, the kernel grew, and we saw
founded, almost entirely for Beethoven, the magnificent
society of the Conservatoire, at present nearlv without a
rival in the world.

We are going to attempt the analysis of the symphonies
of this great master, beginning with the first, that the
Conservatoire so seldom performs.

I. SYMPHONY IN C MAJOR.

This work, by its form, its melodic style, its sober har-
mony, and its instrumentation, is distinguished entirely from
the other compositions of Beethoven that have succeeded it.
The author while writing it has evidently remained under
the empire of the ideas of Mozart, that he has sometimes
enlarged, and everywhere ingeniously imitated. In the
first and second movements, nevertheless, we see shooting
forth from time to time certain rhythms which the author
of Don Juan has employed, it is true, but very seldom,
and in a much less striking manner. The first allegro
has for its theme a phrase of six bars, which, without
having in itself very much character, becomes subsequently
interesting from the art with which it is treated. An
episodic melody follows, of no very distinguished style ;

and by means of a half- cadence repeated three or four
times, we come to a figure for wind-instruments in imita-
tions in the fourth, that it is so much the more surprising
to find there, as it had been often employed already in
several French opera overtures.

The andante contains an accompaniment for the drums,
■piano, which appears now-a-days something very ordinary,
but in which we must nevertheless recognise the prelude
of the striking effects that Beethoven produced later by
means of this instrument, little or badly employed in
general by his predecessors. This movement is full of
charm ; its theme is graceful and lends itself well to the
fugued developments of which the author has made such
ingenious and piquant use.

The scherzo is the firstborn of that family of charming
jokes (scherzi) of which Beethoven has invented the form,
determined the movement, and which he has substituted
in nearly all his instrumental works for the minuet of Haydn
and Mozart, of which the movement is less rapid by half,
and the character quite different. This one is of exquisite
freshness, agility, and grace. It is the only real novelty
of this symphony, in which the poetic idea, so great and .
rich in most of the works which followed it, is altogether
wanting. It is music admirably constructed, clear, lively ;
but with little accent, cold, and sometimes mean, as in
the final rondo for instance, veritable musical childish-
ness ; in a word, it is not Beethoven. We are going to
find him.

2. SYMPHONY IN D.

In this symphony all is noble, energetic, and proud ; the
introduction {largo) is a masterpiece. The finest effects
succeed one another without confusion, and always in an
unexpected manner : the melody is of a touching solemnity
which from the first bars imposes respect, and prepares
for emotion. Already the rhythm shows itself more
daring, the orchestration richer, more sonorous, and more
varied. To this admirable adagio succeeds an allegro
con brio, of an animation that carries one away. The
grupetto that is met with in the first bar of the theme,
given out at the beginning by the altos and violoncellos in
unison, is afterwards taken up by itself to establish some-
times progressions in crescendo, sometimes imitations
between wind and stringed instruments, which are all of a
physiognomy as new as it is animated. In the middle is
found a melody, performed in the first half by the
clarionets, bassoons, and horns, and finished by the rest
of the orchestra, tutti, the masculine energy of which is
further heightened by the happy choice of the chords
which accompany it. The andante is not treated in the
same manner as that of the first symphony ; it is not
composed of a theme worked in canonical imitations, but
of a melody pure and candid, given out at first simply by
the string quartett, then embroidered with rare elegance,
by means of light passages, the character of which is never
removed from the sentiment of tenderness which forms
the distinctive feature of the principal idea. It is the
delightful picture of innocent happiness, hardly sombred
down by some few accents of melancholy. The scherzo
is as freely gay in its capricious fancy as the andante was
completely happy and calm ; for all is smiling in this
symphony ; the warlike bursts of the first allegro are them-
selves entirely free from violence ; we can only see in them
the youthful ardour of a noble heart, in which the fairest
illusions of life are preserved untouched. The author still
believes in immortal glory, in love, in devotion. . . Also,
what abandon in his gaiety ! how witty he is ! what sallies!
In listening to those different instruments quarrelling over
the scraps of a theme that none of them executes entire,
but of which each fragment is thus coloured with a

August I, 1871.]

THE MONTHLY MUSICAL RECORD.

thousand different shades in passing from one to the other,
one might fancy himself taking part in the fairy sports of
the graceful elves of Oberon. The finale is of the same
nature : it is a second scherzo in common time, the humour
of which has perhaps something even more fine and more
piquant.

3. SINFONIA EROICA.

It is quite wrong to abridge the inscription placed at
the head of this work by the composer. It is entitled
" Sinfonia Eroica, to celebrate the memory of a great
man." We see that we have not to do here with battles,
nor triumphal marches, as many people, misled by the
mutilation of the title, would expect ; but with thoughts
grave and deep, with melancholy recollections, with
ceremonies imposing by their grandeur and sadness — in a
word, with the funeral oration of a hero. I know few
examples in music of a style in which grief has been able
constantly to preserve such pure forms, and such nobleness
of expression.

The first movement is in triple time, and the motion is
nearly that of the waltz. Yet what is more serious and
more dramatic than this allegro ? The energetic theme
on which it is founded is not at first presented in its
entirety. Contrary to custom, the author gives us only a
glimpse of his melodic idea ; it does not show itself in all
its brilliancy till after a preface of several bars. The
rhythm is exceedingly remarkable from the frequency of
syncopations, and for combinations of common time
thrown into the triple, by accenting the weak parts of the
bar. When to these clashing rhythms are joined certain
rude discords, such as that which we find towards the
middle of the second part, where the first violins strike
the high f natural against the E natural, the fifth of the
chord of A minor, it is impossible to repress a movement
of fright at this picture of indomitable fury. It is the
voice of despair, and almost of rage. Only we may say,
why this despair ? why this rage? We cannot discover the
motive. In the next bar the orchestra suddenly calms ;
one might say that, broken down by the rage to which it
has just given way, its strength fails all at once. Then
there are gentler phrases, in which we find again all the
sorrowful tenderness that recollection awakens in the soul.
It is impossible to describe, or even to indicate the
multitude of melodic and harmonic aspects under which
Beethoven reproduces his theme ; we will confine ourselves
to mentioning one of extreme strangeness, which has
served as the text for many discussions, which the French
publisher corrected in the score, thinking it was a mistake
of the engraver, but restored after fuller information. The
first and second violins alone hold in a tremolo the major
second, A flat, B flat, a fragment of the chord of the
dominant seventh of E flat, when a horn that appears to
have made a mistake and started four bars too soon,
enters rashly with the commencement of the principal
subject, which consists exclusively of, the four notes E, G,
E, B. One can imagine what a strange effect this melody
formed of the three notes of the tonic must produce
against the two dissonant notes of the chord of the
dominant, though the distance at which the parts are
placed weakens the force of the collision much ; but at
the moment when the ear is on the point of revolting
against such an anomaly, a vigorous tutti interrupts the
horn's speech, and finishing piano on the chord of the
tonic, allows the violoncellos to re-enter, who then give
the theme entire, with the harmony that suits it. Taking
a high view of things, it is difficult to find a serious justifi-
cation for this musical caprice. The author we are
told, nevertheless attached much importance to it ; it is
even said that at the first rehearsal of this symphony,

M. Ries, who was present, cried out, stopping the or-
chestra, "Too soon ! too soon ! the horn is wrong !" and
that, to reward his zeal, he received from the furious
Beethoven a vigorous scolding.

No whimsicality of this kind is presented in the rest of
the score. The funeral march is quite a drama. We
seem to find in it the translation of the fine lines of Virgil
on the funeral of young Pallas : —

" Multaque prseterea Laurentis pr«mia pugna;,
Adgerat, et longo praedam jubet ordine duci.
Post bellator equus, positis insignibus, ^Ethon,
It lacrymans, guttisque humectat grandibus ora."

The end, especially, is deeply moving. The theme of
the march reappears, but in fragments broken by rests,
and with no other accompaniment than three strokes
pizzicato for the double-bass ; and when these shreds of
the mournful melody have fallen one by one down to the
tonic, the wind instruments utter one cry, the last farewell
of the warriors to their companion in arms, and all the
orchestra dies away on a pedal point pianissimo.

The third movement is entitled sc/ierzo, according to
custom. The Italian word signifies game, or joke. One
hardly sees, at first, how such a class of music can figure
in this epic composition. To understand it, it must be
heard. The rhythm, the movement of the scherzo are
truly there ; there are, indeed, games, but veritable funeral
games, saddened each moment by thoughts of mourning
— games, in short, such as those which the warriors of the
" Iliad" celebrate around the tombs of their chiefs.

Even in the most capricious evolutions of his orchestra
Beethoven has known how to preserve the grave and
sombre colour, the profound sadness, which ought
naturally to predominate in such a subject. The finale
is only a development of the same poetic idea. A very
curious passage of instrumentation is to be remarked at
the opening, and shows all the effect which may be drawn
from the opposition of different qualities of tone. It is a
B flat, struck by the violins, and repeated immediately by
the flutes and oboes in the manner of an echo. Though
the sound is struck again on the same degree of the scale,
in the same movement, and with equal strength, there
nevertheless results from this dialogue so great a difference
between the same notes, that the shade which distinguishes
them may be compared to that which separates blue from
violet. Such delicacies of tone were altogether unknown
before Beethoven ; it is to him that we owe them.

This fi.7iale, though so varied, is notwithstanding con-
structed entirely on a very simple fugued subject, on which
the author afterwards builds, besides a thousand ingenious
details, two other themes, one of which is of the greatest
beauty. We cannot perceive, from the turn of the melody,
that it has been, so to speak, extracted from another. Its
expression, on the contrary, is much more touching ; it is
incomparably more graceful than the original subject, of
which the character is rather that of a bass, and which
serves very well as such. This melody reappears, a little
before the end, in slower time, and with fresh harmony
which redoubles its sadness. The hero costs many tears.
After these last regrets given to his memory, the poet
leaves the elegy, to intone the hymn of glory. Though
somewhat laconic, this peroration is full of brilliancy, and
worthily crowns the musical monument. Beethoven has
written things more striking, perhaps, than this symphony ;
several of his other compositions impress the public more
vividly ; but, it must nevertheless be acknowledged, the
"Sinfonia Eroica" is so strong in thought and in execution,
its style is so nervous, so uniformly lofty, and its form so
poetic, that its rank is equal to that of the highest con-
ceptions of its author. A feeling of grave and, so to
speak, antique sadness always overpowers me during the

IOO

THE MONTHLY MUSICAL RECORD.

[August i, 1871.

performance of this symphony ; but the public appears
but moderately affected by it. Truly we must deplore the
misery of the artist who, burning with such enthusiasm,
has not been able to make himself understood, even by a
select audience, sufficiently to raise them to the height of
his inspiration. It is so much the more sad, because that
same audience in other circumstances grows warm, pants,
and weeps with him ; it is seized with a real and lively
passion for some of his compositions equally admirable, it
is true, but yet not finer than this ; it appreciates at their
just value the allegretto in A minor of the seventh sym-
phony, the allegretto scherzando of the eighth, the finale of
the fifth, the sclierso of the ninth ; it even appears much
moved by the funeral march of the symphony now in
question ("Eroica"); but as to the first movement, it is
impossible to deceive oneself — I have remarked it for
more than twenty years — the public listens to it almost
with indifference ; it sees in it a learned and very energetic
composition ; beyond that — nothing. Philosophy avails
nothing ; it is in vain' to say that it was always so in all
places, and for all highly intellectual works, that the
causes of poetic emotion are secret and inappreciable, that
the feeling of certain beauties with which some individuals
are endowed is absolutely wanting in the masses, that it is
even impossible it should be otherwise. All that does not
console, all that does not calm the indignation, instinctive,
involuntary, absurd if you wish, with which the heart is
filled at the sight of a marvel misunderstood, of so noble a
composition, that the crowd looks at without seeing, listens
to without hearing, and lets pass by almost without turning
the head, as if it were only dealing with a mediocre or
common thing. Oh, it is frightful to say to oneself, and
that with a pitiless certainty : What I find beautiful is the
beautiful for me, but it will not be so, perhaps, for my
best friend ; he whose sympathies are ordinarily mine will
be affected in quite a different manner ; it may be that the
work that transports me, that gives me the fever, that
draws tears from my eyes, leaves him cold, or even dis-
pleases him, bores him !

Most of the great poets do not feel music, or only relish
trivial and puerile melodies ; many great intellects, who
fancy they love it, do not even suspect the emotions to
which it gives rise. These are sad truths, but they are
palpable and evident, and only the obstinacy of certain
systems can hinder their recognition. I have seen a
bitch who howled with pleasure at hearing the major
third held in double-string on the violin ; she bore pups on
whom neither the third, nor the fifth, nor the sixth, nor
the octave, nor any chord consonant or dissonant ever
produced the slightest impression. The public, in what-
ever manner it is composed, is always, in respect to great
musical conceptions, like this bitch and her pups. It has
certain nerves which vibrate to certain resonances, but
this organisation, incomplete as it is, being unequally
distributed, and infinitely modified, it follows that it is all
but madness for a composer to reckon on such and such
means of art, rather than such and such others, to act
upon it ; and that the composer has nothing better to do
than blindly to obey his own feelings, resigning himself
beforehand to all the chances of fortune. I came out
from the Co lservatoire with three or four dilettanti, one
day when the Choral Symphony had just been performed.

"How do you find this work ?" says one of them to me.

" Immense ! magnificent ! overpowering ! "

" That's odd ; I was dreadfully bored. And you ? " he
adds, addressing an Italian.

" Oh ! I ? I find it unintelligible, or rather insupport-
able ; there is no melody. Besides— stop, here are several
papers that speak of it. Read : —

" ' The Choral Symphony of Beethoven represents the

culminating point of modern music ; the art has produced
nothing yet that can be compared with it for nobility of
style, grandeur of plan, and finish of details.' "

{Another paper) "'The Choral Symphony of Bee-
thoven is a monstrosity.' "

{Another) " ' The Choral Symphony of Beethoven con-
tains admirable passages, yet one sees that ideas failed
the author, and that, his exhausted imagination no longer
sustaining him, he was consumed in efforts, often happy,
to supply inspiration by force of art. The various phrases
which are found in it are treated in a superior manner,
and disposed in an order perfectly clear and logical. To
sum up, it is the very interesting work of a fatigued
genius.' "

Where is truth, or where is error ? — everywhere and
nowhere. Each is right : that which is fine for one is not
for another, simply because one has been moved, and the
other has remained untouched ; the first has experienced
vivid enjoyment, and the second a great fatigue. What
is to be done? Nothing. But it is horrible! I would
rather be mad, and believe in absolute beauty.

HISTORICAL SKETCH OF THE SONATA.
The beginning of our modern Sonata we find towards the
end of the seventeenth century ; the first Sonatas, by
Henry Biber, for violino solo, appearing in 1681 ; and in
1683, twelve Sonatas for violino, bass, and clavichord, by
Corelli, the violinist ; but Johann Kuhnau, Sebastian Bach's
predecessor, merits greater attention as a composer of
Sonatas. His first Sonata in B flat (Becker's Hausmusik
in Rimbault's History of the Pianoforte) is written in the
present form, and consists of three movements — allegro,
andante, and allegro. The writing is polyphonic, but the
composition wants artistic connection. Kuhnau's next
composition appeared in 1696 — Frische Ciavierfriichte
(fresh fruit for the clavichord), seven Sonatas displaying
invention and style. These Sonatas exhibit progress in
form and matter, they are vigorous, bold, and graceful, and
have even warmth of feeling. They consist of four and of
five movements. Contrasts of repose and animation exist
in them in great variety. Polyphonic writing is predomi-
nant, but we have sometimes independent melodies. Some
of the movements are distinguished by an eminently
artistic tone. Kuhnau is congenial with Handel in his
free, polyphonic style, and in his bold and noble phrasing
of melody.

The composer next to be mentioned in this branch
is Mattheson ; he published in 17 13 a Sonata, " dedicated
to the person who will best perform it." It has only one
movement. The working-out of the component parts is
richer, and the subject is interesting. The general treat-
ment, however, shows more outward brilliancy than in-
trinsic value.

WTe next arrive at Domenico Scarlatti. He composed
thirty so-called Sonatas "per il clavicembalo" and " sei
Sonate per il cembalo," in the first decade of the eighteenth
century. Each Sonata consists of two parts, the second
comprising our present middle — i.e., the working-out of
the subject— and our third, that recapitulates.

They are analogous in form to a Song in two parts ;
they are mostly written " a due," and are more adapted to
the nature of the instrument than those of his predecessors.
We meet for the first time with the crossing of the hands.
In the Sonatas of Scarlatti, which he himself describes as
" ingenious playfulness of art," a more earnest intention is
wanting.

They are joyous and spirited, often even to merry-
making, yet we sometimes meet with single traits of deeper

August I, 1 87 1.]

THE MONTHLY MUSICAL RECORD.

101

emotion. Scarlatti did not create so much a new form for
the Sonata as a whole, consisting of several movements,
as he developed former germs existing in the single move-
ments of the Sonata. He perfected its construction, freed
it from the fetters of polyphonic writing, permitting it to
move in accordance with the nature of the instrument ;
and this progress was required to case the way to the
" Sonata " as we now have it, in several movements form-
ing a real unity.

We have now to mention Francesco Durante (1693 —
j 796), who composed a " Sonata per il cembalo divise in
studie e divertimente." These stand apart — a transition
from the form of Song to that of the Sonata, homophonic
in treatment. Though of less value than the Sonatas
of Scarlatti, compared with Kuhnau there is a progress
towards a style more free and natural, and, as to matter,
they may be called pithy and clever.

We now approach the giant, Sebastian Bach, in men-
tioning his two Sonatas in c and D minor. Here we again
find several movements connected in one work. In these
two Sonatas, as to form and style, he is not thoroughly
equal to Scarlatti, but rather reminds us of Kuhnau. He,
however, surpasses the latter infinitely in richness, and in
a free handling of his subject. On the other hand, he
stands higher than Scarlatti in combining several move-
ments in true Sonata style to a unity, thus producing
more strikingly than before higher and more intellectual
significance. In fact, in Bach we find the moment of
transition. Another work the result of this period of
transition is the twelve Sonatas of Padre Martini. In
their form they are equally distant from the Suite and
the real Sonata, combining polyphonic and homophonic
writing, and while carefully worked out, are full of ani-
mation.

A new phase begins, extending from the middle of the
eighteenth century to the death, in 1788, of Emanuel Bach,
when the Sonata had acquired its true shape. The
number of Sonata composers ' increased considerably.
We may mention in Italy, Galuppi, Paradisi, Sarti, and
Sacchini ; in France, Schobert and Gretry ; in Germany,
Friedemann Bach, Krebs, Marpurg, Haydn, Johann
Christ. Bach, and Wanhall. In all, we may enumerate
about two hundred Sonatas by thirty-five composers ;
their co-ordination was very much] varied, evidently in
attempts to find the proper shape. Three movements
predominated, but two and four movements are met with.
In the latter case we find already the " Minuet " as the
second movement. As to the form of the single move-
ment, it was either in the style of Scarlatti or was more
developed. There were already movements with a second
subject, but more as a companion than a contrast to the
principal subject. We may further point out how the
form of Song (the Cantilena) was enlarged and extended.
We find "airs with variations," airs of dances (Minuet
and Polonaise), and, less frequently, the " rondo." The re-
presentative of this period is Emanuel Bach, the real
precursor of Haydn.

Besides him his younger brother, Christian, and Leopold
Mozart, must be mentioned. Christian Bach's Sonatas
have fire, humour, and grace ; their style approaches that
of Haydn and Mozart, In the Sonatas of Leopold
Mozart, we divine his great son in their strong similarity
to the works of the latter.

The compositions of Emanuel Bach are imbued with
spirit and animation. We feel that with him the mind
would speak; everywhere is freshness, elevation, and senti-
ment. His Sonatas have as first movement an allegro,
as second an andante or " arioso," and as third a presto
in the form of a rondo, the writing being mostly homo-
phonic. As his chief work, we may mention his Sonatas

for connoisseurs and amateurs. (Lately twelve of Emanuel
Bach's Sonatas have been republished in the " Tre'sor du
Pianiste." Paris : Farrenc.)

Emanuel Bach has thus prepared the way for the new
era of the Sonata, as we have it now in the works of
Haydn, Mozart, Clementi, and Beethoven. Haydn carried
out what Emanuel Bach had begun, by elaborating the
working-out of the subject in the several movements, by
repeating it in its third division, thus giving to the com-
position organic structure ; .all the movements being
harmoniously constructed with a view to variety as well
as unity. Thus the Sonata of Haydn, written for an
instrument at that time of greater means and compass,
shows all the peculiarities of a rich, jovial, and humorous
mind, assisted by wonderful power over all the techni-
calities of musical composition. Thirty-four excellent
Sonatas of Haydn exist (a beautiful and very correct
edition of them has been lately published by Breitkopf and
Hartel at Leipzig).

We arrive at Haydn's worthy successor, Mozart, who
adopted the form of Sonata developed by Haydn, giving
it still greater variety and richness, and introducing a
companion subject, of secondary importance, in the Can-
tilena style; expanding the melody, enlarging the phrases,
and introducing greater contrast of light and shade. The
feeling of beauty and symmetry of form which charac-
terise all compositions of Mozart are the distinguishing
features of his Sonatas ; some of them are, however, of
less value, but it is known that these were composed for
the use of his pupils. I must draw the attention of my
readers to the marvellous treasures of science hidden in
the greater Sonatas ; such, for instance, as the counter-
point-writing in the great Solo-Sonata in F major, the
Duet-Sonata (last movement), &c. &c. ; also to the in-
troduction of new rhythms, such as the " Alia Turca," in
the charming Sonata in A major ; to my mind the modern
Scherzo is anticipated in the last movement of the famous
Sonata in c minor (preceded by the fantasia). Mozart's
great contemporary, Muzio Clementi, the founder of modern
pianoforte-playing, and the composer of seventy-four
Sonatas and Sonatinas, devoted his genius to the progress
of technical execution, being, as it were, a complement to
the more ideal tendencies of Mozart. He is a composer
of profound science, and his treatment of counterpoint,
canon, &c. Sec, shows everywhere the ease with which he
had mastered it. Beethoven is known to have often ex-
pressed his admiration for the mastery in dementi's
Sonatas, which he appeared to prefer to those of Mozart.
Correct and well-designed as his Sonatas are, we must
own that they want warmth of feeling and charm of
melodious expression. He may almost be called the in-
ventorof the characteristic Sonata(descriptive of emotions),
such as his " Didone Abandonata, scena tragica." If I
now name Beethoven, I designate at once the culminating
point at which the Sonata has arrived, and I may say can
arrive. Beethoven's Sonatas are so universally known,
and the masterly interpretation of them by such performers
as Miss Goddard and Mr. Charles Halle- has rendered
them so familiar to London audiences, that it would be
superfluous to expatiate upon them here. Although the
successor and contemporary of Mozart, the triumphant
career of Beethoven, from his first to his latest Sonatas,
all pregnant with his deep originality— all showing con-
tinuous progress — has elevated this branch of composition
to a rank co-ordinate with the Symphony. Beethoven is,
indeed, the hero of this epoch ; but it would be ungrateful
to overlook the earnest and successful labours of hiseminent
contemporaries, Dussek, Hummel, Weber, Moscheles,
and Schubert. Of the forty-five Sonatas and Sonatinas
Dussek has left us, some— L'Invocation, Les Adieux de

102

THE MONTHLY MUSICAL RECORD.

[August i, 1871*

Clementi, Elegie, Le Retour a Paris, &c. &c. — will always
enjoy a high and well-merited reputation ; whilst Hum-
mel's Sonata in F sharp minor, composed, as it seems,
expressly for the purpose of introducing the greatest
technical difficulties, yet never losing this composer's
suavity of expression, stands foremost among contem-
porary works. The Duet- Sonata in A flat, almost his
chef-d'oeuvre, will always be held a model of its kind.

Weber, in writing his grand Sonata, could not resist
the dramatic impulse under which he produced his music,
and his predilection for the "Lied" (the genre in which he
first and above all other composers excelled), impassioned
as they are full of sonority and pregnant with an inde-
scribable charm of melody, yet remain rhapsodic, and
suffer from the incompleteness of Weber's theoretical
studies. I may observe that his Sonatas were all written
before the " Freischiitz." Of Moscheles' Sonata com-
positions I may be allowed particularly to praise the
beautiful Duet-Sonata in E flat, which, almost reaching
the one just mentioned of Hummel's, is another model of
that style, bringing out, even in a more clever and piquant
manner, the resources of the piano. The boldness and
noble ambition of the first movement, the delicious
quaintness of the andante movement, a la Russe, will be
a lasting monument of that composer's talent. His
" Sonata Symphonique," in a larger style, demands from
the instrument effects which are perhaps beyond its
limits.

I conclude my sketch with Franz Schubert, who has
left us ten Solo and two Duet-Sonatas. They contain all
the beauties which we admire in all this genial composer's
works, invention, sonority, and rich and bold harmonies ;
but, at the same time, his faults as an instrumental com-
poser are perceptible —the want of economy and con-
ciseness. We also regret that his vocation for the "Lied "
often mars his instrumental intentions. But certainly his
grand Duet-Sonata, Op. 140 (composed in 1824), written
under the influence of Beethoven's genius, deserves the
particular attention and respect of all lovers of music ;
not forgetting his Solo-Sonata in A minor. It seems that
after these efforts the Sonata form has been exhausted ;
true, the most eminent composers of the latest period,
viz., Schumann, Chopin, Heller, Hiller, &c. &c, have
produced distinguished works in this branch ; but it
appears that life in our days is too short, and occupation
too urgent, to admit of the patient hearing of works of
such extent ; the Sonata remains for the solitary amateur.
However, let us not give up the hope that another
Beethoven may some day rise up to revive the Sonata
again. E. P R.

way in their turn. On this subject much might be said/
but my present concern is with the " added sixth."

I subjoin a few progressions, some of which doubtless
can be explained by the systems now taught, but others
can only be passed off (as far as I know) as licences. It
will be observed that all the examples I have noted are
simple inversions or chromatic alterations of the added
sixth upon the subdominant, with its ascending resolution
on the tonic harmony.

(A) (B) (C) (D) (E) (F) (G)

A PLEA FOR THE ADDED SIXTH.

The added sixth of Rameau is so nearly forgotten, that
it may be as well to re-state the old theory before pro-
posing its revival in certain cases.

As the dominant triad receives an additional
third above, making a minor seventh with the root,
so may the tonic and subdominant triads — but
principally the latter- receive an additional third below,
forming (when inverted) a major sixth with the root.

-a . And as the added seventh resolves by de-

fe=gpj=ig== scending, so does the added sixth resolve
t7"~ • " by ascending one degree.

The theory of added sixths broke down in practice, as
every theory must do that professes to be more than a
classification of known combinations. As soon as new
progressions become too abundant to be dismissed as
licences, new theories are invented, which have to give

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:S^L-

iH^-3

The progression at (A), well known as it is, is not to be
found in the elementary thoroughbass books ; the chro-
matic alteration of the same passage at (E) is iess known,
but very effective, even as a final cadence. It will be
seen that we have here an irregular resolution of the
" German Sixth." (F) is familiar enough, being usually
written with the ~E?. (G) is also familiar, though un-
noticed in any treatise with which I am acquainted.
Composers, indeed, never seem to know if they should
write PJt or e". I should say this depends upon the
origin assigned to the progression, for it is quite possible
to reach the same result by different means. The above
progressions are also found wholly or partially transposed
into the minor mode. But the " added sixth " will no
longer explain them when, as in this case, DJt appears as ~eP.

As to the ascending resolution of the sixth, I am aware
that it may be avoided (in which case many other pro-
gressions might be included in the list) ; but is not this
the case also with the descending seventh ? And is an
ascending resolution so unheard-of a thing — e.g., of the
leading note upwards ? CLEVELAND WlGAN.

Dover, May 10th, 1871.

THE MINUET IN HANDEL'S OVERTURE TO

THE "MESSIAH."

The Musical Standard of the 17th of June last published
what purported to be the minuet originally written by
Handel for the overture to the Messiah, but subsequently
discarded. On the question of its authenticity being
raised in the Sunday Times, the editor, who received the
piece from Mr. T. E. Jones, the organist of Canterbury
Cathedral, at once gave all the information in his power ;
and a letter from Mr. Jones himself, which appeared in
the Musical Standard of the 15th of July, traces the
minuet directly up to Christopher Smith, Handel's amanu-
ensis. There is, therefore, every reason, especially as the
internal evidence of the piece is in its favour, to believe
that it is really what it professes to be.

The letter which the editor of the Musical Standard
wrote to the Sunday Times, in reply to the challenge in
the columns of that paper, is highly amusing, as showing
how inaccurate a knowledge of Handel's works is fre-
quently to be found even among those who profess to lead
musical opinion. The editor says in the course of his
letter, "A very few of his opera, and only three of his
oratorio overtures — Saul, Susanna, and Joshua — possess
but two movements." Now this statement is entirely
incorrect in two out of the three instances given. We are
inclined to ask the editor, " Should you be surprised to
hear that the overture to Saul contains four movements,
and that Joshua has no overture at all?" The latter
oratorio has merely a short " introduction " of one page,

August I, 1 87 1.]

THE MONTHLY MUSICAL RECORD.

103

which leads at once into the opening chorus, " Ye sons of
Israel." If the editor had been familiar with Handel's
works he would have known that there are at least three
other oratorios {Judas Maccabceus, Belshazzar, and Time
and Truth) which contain overtures in two movements.
To these we might probably add Al/ialia, but that the
instrumental prelude to that work is entitled " sinfonia "
instead of " overture," perhaps because, although consist-
ing of an introduction and allegro, the latter is not a fugue.
We have thought it worth while to call our readers' atten-
tion to the point, as the discovery of a new movement by
Handel is one of general musical interest ; and the corre-
spondence on the subject shows how very superficial is the
acquaintance, even of some musicians, with his more im-
portant works.

A THEATRE IN HAVANA.

(TRANSLATED FROM THE LEIPZIG " SIGNALE.")

What would our German actors, our chamber and opera
singers, or our prima-donnas say, if it occurred to the strict
stage-manager, director, or prompter, to order a full
rehearsal at six o'clock on a fine morning? Assuredly the
Niemanns and Wachtels, the Luccas and Mallingers, or
whatever our operatic principals are called, would strike
without further ado, and leave the daring ruler of the
theatre in possession of the field. It is different in the
West Indies. There all important business is transacted
in the cool early hours, and the Devrient of Havana feels
by no means surprised if he is ordered for rehearsal three
or four hours before breakfast. A siesta lasting till dinner-
time recompenses him then for the morning sleep of
which he has been deprived.

These Havana theatre-rehearsals are open to the public;
and, as there is nothing to pay, boxes and galleries are
filled by a not very select audience. Coloured gentlemen,
also, are not excluded from the amusement. Every one
keeps his hat on, if he please, and smoking is so little
forbidden that even the director and actors puff away at
their cigars and cigarettes to their hearts' content. " We
had," writes a North American traveller, "had the good
fortune to make the acquaintance of a very important
personage at the Havana theatre, and at his invitation, we
attended one day at six in the morning a rehearsal there.
Our friend Tunicu resided in the theatre itself day and
night, for the house is placed in his care. He is, besides,
scene-painter, costumier, and actor in one person, and
especially imitates to perfection the barking of dogs, the
crowing of cocks, and the braying of donkeys behind the
scenes. During the Carnival, Tunicu lends for hire masks
and dominoes of his own make, or faded theatrical costumes
and requisites ; and if the governor honours the town with
a visit, our friend has to arrange the wreaths and arches
on the houses and in the streets, and to see to the decora-
tion of the theatre, in which building the important event
is usually celebrated by a grand ball.

"About the censorship of the drama in Cuba, Tunicu has
much to tell. No piece can be performed which the
censor appointed by the Government does not pass ; with
his red pencil he can mark out every word, line, or sentence
which he thinks dangerous to Spanish morals or politics.
The censorship is under no fixed law, and in every town
of the island the resident censor proceeds entirely ac-
cording to his own will and pleasure ; so that in Havana
one finds, perhaps, accordant with the Spanish sense of
decency and order, what in Santiago is pronounced to be
high treason and immorality. Very often an excellent
drama, nay, an acknowledged masterpiece of Spanish
literature, that has been represented in Madrid countless

times without hindrance, is so mutilated by the Cuban
censors that its performance has to be abandoned.

"All buildings in Cuba are constructed with special
provisions for probable earthquakes, and for the tropical
heat, and the theatres offer no exception to this rule.
From all points there are easy and rapid means of exit ;
at a sudden catastrophe the public comes at once, so to
speak, from its scats into the open air. On every side is
found a large number of open doors and windows, which
secure excellent ventilation. Similarly, suitable precau-
tions are taken against fire, and a small regiment of black
bomberos, or firemen, is always encamped in the house.
Of the two rows of boxes which the theatre possesses, the
lower is hardly perceptibly raised above the level of the
pit, from which one can talk freely with the occupants of
these former, as is the general Cuban custom. Behind'
the boxes run broad airy passages ; the side of which thait
is turned towards the theatre is enclosed by an elegant
open iron lattice. Like most Cuban houses, the theatre
is also entirely destitute of drapery, being as bare and
sober as the arena of a bull-pit.

"To obtain admission to the evening performance, oi7.?
has to take two tickets, one for entrance to the building,
the other to secure the seat. Without this last, one has
to stand at the back of the boxes. Tunicu accompanies
us at the evening performance, as at the morning rehearsal,
and makes us acquainted with the name and position of
most of those present, every one of whom appears to be
his personal friend. In Cuba everybody is intimate with
everybody else, and between the boxes, which, with a few
exceptions, are in possession of ladies, and the pit, which
is exclusively occupied by gentlemen, the liveliest con-
versation goes on. The senoritas, with their low muslin
dresses, with a splendid wealth of their own hair, and
their inevitable fans, form a pleasing coloured framework
to the picture of the black coats and white trousers in the
pit. Their little slim fingers are ungloved, but loaded
with costly rings, for the Cuban ladies have a passionate
love for gold and precious stones, and display their jewels
with ostentation on all public occasions. The larger part
of the ladies have brought their female slaves with them,
who squat on the floor behind them.

"Tunicu gives us, moreover, all sorts of details about
earthquakes. The last he witnessed, he tells us, was not
of great importance, it was only a so-called temblorcito
— one wall of the house cracked from top to bottom, the
mouldings fell off another, one of the chandeliers came
down on the audience — and that was all! Notwith-
standing, the panic that seized the public was terrible, and
many were crushed to death in getting out. ' But what
on earth is the meaning of those boxes with the lattice-
work in front, on each side of the stage?' we curiously
ask our all-knowing cicerone. ; Those,' explains Tunicu,
' are places reserved for persons and families who, because
they are in mourning or half-mourning, may not show
themselves in public. However,' he adds confidentially, 'it
is not always mourners who use these retired boxes. We
have here a certain class of company who always wear a
kind of half-mourning — the half-castes or quadroons, who
must not let themselves be seen in public in simple white.'
The gallery is occupied, as elsewhere, by soldiers, sailors,
and people of the lower orders ; while in the furthest back-
ground a few benches stand ready for the exclusive use
of mulatto girls, and negroes of both sexes, who are
always accustomed to come in great state.

" After the overture — a mixtum compositum of Cuban
dance music and Spanish fandango measures, which black
musicians perform on wretched instruments — a powerful
bell sounds, to summon all who are moving about the
house to their places, the curtain rises, and the per-

io4

THE MONTHLY MUSICAL RECORD.

[August I, 187 1.

formance begins. In general, the Cuban drama has
nothing peculiar about it, except that every, even the most
harmless, political allusion is carefully avoided, and there-
fore very wide licence is given to double-entendre and
indecency. The actors, by their indistinct mutterings,
drive the prompter to despair, and indulge in personalities
with the orchestra and the public in the pit. Endless
applause shakes the house when the first comedian,
twisting his legs drolly, ventures on the charinga, a difficult
negro dance ; and the scene between a Yankee who speaks
very broken Spanish, and a lady who answers him with
the purest Cuban accent, calls forth a burst of laughter
that threatens to split the diaphragm of every one present.
A more excitable and emotional public than the Cuban
an actor could not wish for.

, "The entr'actes last a good half-hour each, during which
t|ie whole audience leave their places, and walk about the
ho-juse at pleasure. The ladies saunter through the corridors,
flirt, play with their fans, and revel in ices. The gentle-
men, of the pit are everywhere and nowhere. Many join
their, friends in the famous mourning-boxes, others enjoy
thtif cigars in the specially large smoking-rooms, or drink
out in the street orchata and bill, a mixture of English
beer, iced water, and syrup. The chief object of attraction,
however, is the stage itself. Open doors offer free access
to this mysterious sanctuary, and, unimpeded, the company
of the pit can rummage every corner and nook of the
boards that mirror the world, from the trap-doors to the
flies. A crowd of Apollos besieges the dressing-room of
"the chief actress, another corps d 'elite blocks the passage
to the boudoir of the first danseusej and great is their
enthusiasm if they catch a glimpse of the goddess in gauze
as she passes to the green-room. The stage itself is
crowded with these loungers, who require no rehearsal
and no prompter, and whose chief performances consist in
smoking numberless cigars. It is a real wonder how, in
the midst of such confusion, the stage-carpenters, scene-
shifters, manager, and director are able to prepare the
stage for the next act. Suddenly a stentorian voice cries,
' Fuera / ' which means, ' Clear the stage !' the great bell
sounds again, and the public hasten back to be in their
places in time.

" But hardly has the new act begun, when all at once
the play stops again, and actors and audience appear to be
both struck with sudden paralysis. The deepest silence
has in a moment spread over the assembly ; only one hears
a few ladies, quickly crossing themselves, whisper a light
' Misericordia ' and ' Maria Santissima.' Then all the
doors of the theatre are thrown open, and before them
stands a procession of priests with lighted tapers. What
has happened ? We look round for our Tunicu, but our
faithful companion has disappeared. Has a fire broken
out anywhere ? But no, the black bomberos remain quiet
in their usual places, and give no sign that their activity is
called into requisition. Perhaps a negro insurrection ? We
look for the governor in his box ; his excellence and suite
look as quiet and composed as possible. Is it an earthquake?
No, nothing moves in the whole house. Hark ! outside,
before the theatre, is the clear sound of a bell. From our
seats we can see far down the street, and there we perceive
a solemn procession of priests, in full vestments, passing
slowly by. The foremost of them swings the clear-sound-
ing bell, while the rest carry long tapers, the Host, and
the holy canopy. They are going to a dying man, to
administer the consecrated viaticum j wherever they pass
the dwellers in the surrounding houses must testify their
reverence. On this account the representation in the
theatre stops for the moment, actors and the public kneel
and cross themselves so long as the pious procession
remains in sight. One of the priests steps for a moment

into the theatre, to convince himself that no one neglects
the devotion ordered by religion. As soon as the proces-
sion is out of sight, and the bell is no more heard, the
tapers at the doors are put out, the spectators recover
from their pious trance, and the posse on the stage con-
tinues its progress merrily, as if no such solemn interlude
had interrupted their sports."

jfom'sn CotTesipMrtiau*.

MUSIC IN NORTH GERMANY.

(from our special correspondent.)

Leipzig, July, 1871.
In my letter to-day I have only to make mention of a
single concert, and even that was not of great import. It
was the performance of Riedel's Society in the Nicolai-
kirche, on the 2nd of July. The performance does not
rank so high as others by the same society, either as
regards the selection of the programme or the excellence
of execution. As for the programme, we cannot help
offering a few remarks. We are not at all against the
bringing out of new compositions of living authors, but,
on the contrary, consider this to be one of the first duties
of the directors of concert societies. Only such works
must, before all things, be worthy of being brought out,
and must not form too jarring a contrast to other well-
known compositions which are on the programme. Such,
however, was not the case in the concert we speak of,
commencing with old Italian church music by Gregorio
Allegri, Giovanni Biordi, and Antonio Lotti, and then
bringing excellent German works, amongst which was the
beautiful motett, "Ich lasse Dich nicht," by Christoph
Bach, the programme finished with compositions by Peter
Cornelius and Franz Liszt. The two church compositions
of Liszt are of small value. The Ave Maria for chorus,
with organ accompaniment, is simple and melodious, but
of very poor invention, and through want of polyphonic
combination little suited for the church. A second piece,
" Die Seligkeiten," for baritone solo and chorus, indulges in
an unfortunately too continuous alternation between solo
part and chorus, and becomes tedious thereby. The solo
part is intended to represent an officiating priest, whose
intonation of some of the verses is anything but pleasant ;
they are then repeated by the chorus, more or less
interestingly harmonised. A (so-called) choral-motett for
alto and male voices, by Cornelius, from Munich, showed
itself as a far-fetched idea-hunting work, far from being
beautiful. Much higher, although not important in style and
invention, stands a small motett, " Media vita in morte,"
by Joseph Rheinberger, which preceded Cornelius' work.
Between the choral works Herr Rob. Heckmann played
violin soli by Tartini, Corelli, and Sebastian Bach very well.
The concert was opened with an organ prelude by Giro-
lamo Frescobaldi. We could not quite see for what
purpose this trifling little work should have been rescued
from the dust of ages. We further heard a toccata and
fugue (D minor), by Bach, performed by the same organist.
The name of the performer we have forgotten, but his
performance as regards combination of stops and technical
execution can only be called middling.

At the Conservatorium a Mr. Witte produced, on the
1st of July, some chamber music compositions of small
value.

A new comic operetta, Der Nachtwachter, by V. Nessler,
we think It best to pass in silence. The opusculum has
no musical worth whatever.

The Leipzig Opera manages to exist, whilst its principal

August I, 1871.]

THE MONTHLY MUSICAL RECORD.

105

members are away on leave of absence, through perform-
ances of visitors, of which only that of Herr Nachbauer,
from Munich, is worthy to be mentioned.

The Conservatorium has now vacation up to the 9th of
August. The Royal Opera in Berlin is closed from the
19th of June till the 16th of August, and the Vienna
Hofoper from the 15th of June till the 1st of August.
Nearly all the municipal opera-houses are shut up, and
the concert- rooms are totally desolate. Under these
circumstances our readers will understand the shortness
of our letters during the summer months, particularly as
the music market just now brings nothing of importance.

MUSIC IN VIENNA.

(FROM OUR SPECIAL CORRESPONDENT.)

Vienna, \z>thjuly, 1871.
Having been dangerously ill, I was prevented from send-
ing my usual letter for the last number of this musical
journal, and must therefore appeal to the indulgence of
the esteemed reader. I am also obliged for this time to
take refuge in the critiques of the opera in the different
newspapers of the day. The concerts all over, there are
only to mention the opera representations from the 15th
of May to the 17th of June. There were twelve different
operas by eight composers — Jixdin, Rienzi (each three
times), Masaniello, Profet, Afrikanerin, Faust (each
twice), Rigoletto, Maskenball, Lohengrin, Romeo, Zauber-
flote, Freischutz (each once). The most interesting even-
ing was the 30th of May, with the first representation of
Rienzi, Wagner's first grand opera, composed thirty years
ago. For a splendid mise-en-scene nothing was spared ;
the decorations by Burghart are said to be the best ever
seen in Vienna ; principals, chorus, and orchestra are
mentioned with praise and honour. And yet, to tell the
truth, the papers assure us that only the second act
created a sensation. To count all the faults and weakness
of this work would be cruel and unjust, as the composer
himself condemned it long ago ; but it will always be of
great interest to watch a master on his former steps, and
so to value his efforts to find his own way. Herr Herbeck
merits all praise in his double position as director and
conductor of the opera. The principal roles, Rienzi,
Irene, Adriano, were performed by Labatt, V. Raba-
tinsky, Ehnn (the two latter afterwards by Siegstiidt and
Troussil). The whole opera was wisely shortened. There
were three repetitions till the end of the season, which was
terminated with the same work on the 17th of June. The
role of Rienzi will be repeated by Herr Niemann, from
Berlin, in the month of August ; Niemann will also sing
in the Meistersingcr, which opera could not have been
represented for a long time, as Herr Beck, after having
sung eleven times the role of Hans Sachs, refused to sing
this part any more. It will be performed now by Herr
Betz, from Berlin. The great number of gastspiele (we
count thirteen different guests since January) flourished
till the end of the season ; the last singers from abroad
were Herr Sontheim, Frl. Singer and Groys. Sontheim
began and finished his gastspiele with indisposition ; he
performed the roles of Eleazar (four times), Masaniello
and Vasco (each twice). He had the intention to per-
form also Robert, but as his Vasco met with a cold
reception he found it better to return to Eleazar, the
refuge of so many a tenor with a voice of past beauty.
And even on his farewell representation Sontheim has
been unfortunate ; he became so hoarse that he could not
sing to the end of the opera ; he was obliged to leave
Eleazar, after the first act, to Herr Labatt, who showed
himself altogether very useful in the course of this season.
The gastspiel of Frl. Singer, from Wiesbaden, was of

little use. Wanting no good materials (fine voice and
dramatic talents), she is but too little accomplished to
satisfy the pretences of a first-rate stage. She sang
Ortrud, Selica, and Azucena, making but little im-
pression. More fortunate has been Frl. Groys, from
Gratz, having been some years ago a pupil of the
Vienna Conservatoire. She sang Astrafiammante in
the Zauberflotc with good effect ; her voice is said to be
very thin, but of a light touch in the upper notes. The
Opera-house is now closed till the 1st of August, and, as
the Hof-Burgtheater (for the drama) is likewise closed,
the inhabitants of Vienna, and the many foreigners, are
obliged to look to one of the great theatres of the suburbs,
which, to bring something of extraordinary attraction, take
refuge in the stage of France and Italy. The Carltheater,
in the Leopoldstadt, began on the 1st of July with repre-
sentations of operettas and vaudevilles of a French com-
pany, under the direction of Mr. Meynadier. Offen-
bach's Princesse de Trebizotide, though represented about
fifty times, and with great eclat, by the proper mem-
bers of the Carltheater, found also in its French dress
a very favourable reception. The roles of Prince
Raphael and Cabriolo were performed by Madame
Matz-Ferari and Mr. Christian, the best members of
this company. Among the singers are also Henriette
Villim, R. Gallas ; Ducos and Uervilliez (tenor) ; Dugas
(bass). The second representation was La Vie Parisicnnc,
which also pleased the hungry playgoers. Another
operetta, L^e Canard d trois bees, the music by M. E. Jonas,
pleased verymuch, being just the right element for a French
troupe of second value. It has been repeated several
times since with the same effect. On the 7th of July
the Theater an der Wien opened with an Italian opera,
under the direction of H. P. Franchetti. The conductor,
Julius Sulzer, is the son of the much-esteemed cantor of
the first synagogue in Vienna. The society is said to be
from Bukharest, but there are only few members who have
seen this town. But it seems that the director forms his
company in Vienna for Baden-Baden, going from there
to Bukharest. The chief members are : Signore Aruzzi-
Bedogni and Benetti (soprano) ; Galimberti (alto) ; Signori
Patierno, Parasini (tenori) ; Traponi-Bono (baritone) ;
Milesi (bass) ; Copai (buffo). The first opera, Otello, was
well supported by the public. Signor Patierno, who per-
formed the title-role, has a voice like a giant ; Otello is
not well fitted for his qualifications, but as Manrico he will
certainly have all the Italians on his side. The other
roles were represented by Signora Aruzzi-Bedogni (Des-
demona) ; Signori Trapani (Iago), Parasini (Rodrigo),
&c, all of whom cannot make a particular impression.
Another opera, // Trovatore, was postponed through the
non-arrival of a new baritone, Signor Bertolini, who will
perform the Conte di Luna.

The Vaudeville theatre in the old Musikvereins-
Gebaude, bought by Strampfer, once director of the
Theater an ^der Wien, has met a great change. The
small house is quite rebuilt, and is said to have be-
come very comfortable and nice. It will be opened on
the 1st of September.

3&ebteto£*

Friedrich Rothbart : Gedicht von E. Geibel, fiir vier-stimmigen
Manncrchor und grosses Orchester, componirt von BERNHARD
Hopffer. Op. 12 (Friedrich Rothbart : Poem by E. GEIBEL,
for four-part Male Chorus and full Orchestra, composed by
Bernhard Hopffer. Op. 12). Full Score. Berlin : Mit-
scher & Rostell.
A few months ago we had occasion to review some of Herr Hop-
ffer's earlier works, and to express a very favourable opinion of

lo6

THE MONTHLY MUSICAL RECORD.

[August I, 1871.

them. We can hardly say that the present chorus fully satisfies
the expectations previously excited by its Composer ; but it is
evidently a piece d' occasion, written to commemorate the recent
consolidation of the German Empire ; and such pieces are pro-
verbially below the average. Even the great Beethoven could on
the occasion of the defeat of Napoleon write nothing worthier of his
reputation than " Der Glorreiche Augenblick " — one of his weakest
works. Weber's " Kampf und Sieg," written after the battle of
Waterloo, is the one exception which proves the rule. Herr Hop-
ffer's chorus is well constructed, on fairly interesting themes ; and
his treatment of the orchestra is very good ; but there is an absence
of that decided individuality of style which gave so much freshness
to the collection of songs that we reviewed before. At the same
time, it is but fair to the young composer to add that his ideas are
all unborrowed, though there is but little that is absolutely new in
them. " Friedrich Rothbart," as a whole, gives us not much basis
on which to found an opinion as to its composer's probable place
among German musicians. On this point we must withhold our
judgment till we see further works from his pen.

Oriental Pictures (Bilder aus Osten). 6 Impromptus for Two
Performers on the Pianoforte, composed by Robert
Schumann. Op. 66. Edited by E. Pauer. London :
Augener & Co.

Herr Wasielewski, in his Life of Schumann, furnishes no parti-
culars as to the origin of this charming and characteristic set of
pieces. He gives us merely the date of its composition — the latter
part of the year 1848, shortly after the completion of the opera
Genoveva, and the music to Byron's Manfred. With the single
exception of No. 2, which is somewhat vague, and wanting in
distinct character, the entire series is in its composer's best manner.
No. 1 ( Vivace), in B fiat minor, is full of life and animation, with a
well-contrasted episode in the major, full of most original harmony.
No. 3, by its opening rhythm (but by nothing else), reminds us of
Mendelssohn's well-known "Volkslied," in his "Songs without
Words;" but the resemblance ceases altogether after the first few
bars. No. 4 (Assai Andantino) is perhaps the best of all, being
one of the most exquisite melodies that Schumann ever penned ;
we fancy we have seen this number arranged as a solo. No. 5 is
a kind of hunting-song in F minor, 6-8 time, with what may be
described as a "trio" in F major, to which peculiar piquancy is
given by the change of time to 2-4 ; this piece is sure to be a
favourite. No. 6 is of a very solemn, almost ecclesiastical character
in its opening ; but it becomes brighter as it proceeds. Near the
close, a snatch of No. 4 is introduced with particularly happy
effect. A curious point about these pieces is the predominance of
extreme keys ; five out of the six are either in d flat, or B flat minor.
It must not, however, be supposed that they are therefore ex-
ceptionally difficult. On the contrary, they are all tolerably easy-
one might almost say, for Schumann, very easy — and they are quite
within the power of good amateur players. The name of Mr.
Pauer as editor is, it need not be added, a guarantee for the
correctness of the text.

Album 0/ Songs, by Robert Schumann. Edited by E. Pauer.
London : Augener & Co.

Many of our readers will probably be surprised to learn that above
200 songs by Robert Schumann have been published in Germany.
Of these comparatively a small number only have been re-issued
with English words in this country ; and the volume now before us,
containing in all thirty songs, includes not only many of the best
of these, but also, if we mistake not, several which have not pre-
viously been presented in an English dress. All present many
features of special interest to the musician, while many of them
also will be equally attractive to the general public. No writer
possessed in a higher degree the secret of adapting his music to
his words ; in this respect he may even compare with Schubert ;
while the wonderful beauty of the accompaniments, and the ex-
quisite harmonising of the themes, often make one forget the com-
parative insignificance of the melody. As an instance of this may
be specified such a song as " Dein Angesicht," the last in the
collection, and one of its composer's very finest. Here the first
thought is, we were almost going to say ' ' commonplace ; '' yet it
is set off with such rare felicity of accompaniment, and such fine
changes of rhythm and harmony, that we know few songs of a
more touching beauty. Another striking example of Schumann's
peculiar style is the " Ich grolle nicht " (No. 18). In this, again,
the melody, as such, is not particularly attractive ; but the wonder-
ful way in which the composer has caught the spirit of the poet's
words, and the gradual access of passion throughout the song, till
near the close it rises to a cry of despair, render it one of his

finest inspirations. But we must forbear to dwell in detail on this
most interesting volume, and will conclude by cordially recom-
mending it to all those lovers of music who— in these days, when
so much twaddle and inanity is published under the name of songs
— wish for what is not only really good, but really new.

Mcchanischc und Technische Clavier-Sludien, als tagliche Ucbungeu,
von Louis Kohler. Op. 70 (Mechanical and Technical
Piano Studies, as Daily Exercises, by Louis Kohler. Op.
70). Leipzig : Breitkopf & H artel.

Herr Kohler is one of those indefatigable musicians, who seem
to exist only in Germany, who go into every detail of a subject
with perfectly exhaustive thoroughness. His work on the "Theory
of Fingering " is by far the most complete with which we are
acquainted ; and the collection of studies now before us contains
exercises on almost every conceivable mechanical difficulty. Com-
mencing with the simplest elements of piano-playing, the first part
of the work, entitled "Mechanical Studies," comprises exercises
on two, three, four, and five notes ; exercises for the passing of
the thumb and fingers in all possible positions, others for the
change of fingers on the same note, with or without repetition,
and preparatory exercises to scale and chord-playing. The second
part, "Technical Studies," includes scale-playing in all ways — in
octaves, thirds, sixths, tenths, and double-notes ; all kinds of
chords, arpeggios, and broken chords ; and an admirable series
of studies for the various kinds of ornaments — shakes, beats, &c.
Ii conscientiously used by the pupil, the work cannot fail to be
beneficial, and we can most heartily recommend it to the notice of
all engaged in teaching.

Six Movements from the Violin Sonatas of J. S. BACH, transcribed

for the Piano by G. J. Van Eyken.
Six Movements from J. S. Bach's Sonatas or Suites for the

Violoncello, arranged for the Piano by G. J. Van Eyken.

London : Augener & Co.

Mr. Van Eyken has evidently had considerable experience as an
arranger ; and the present series of movements may be recom-
mended to teachers who wish to introduce the old Leipzig master
to not very advanced players. Several transcriptions from these
same works have been previously published ; but all, as far as we
are aware, make considerable demands on the executant. In this
collection, while the leading features of the original are faithfully
preserved, all unnecessary difficulties have been carefully avoided ;
and the fingering, which is marked in all cases of importance, will
further aid the young performer. While all the numbers are in-
teresting, the last two, from the violin sonatas— the Menuette in E,
and the Gavotte in B minor— and the Gavotte in D from the vio-
loncello sonatas, are likely to be special favourites.

Premiere Valse pour le Piano. Op. 5.
2me Nocturne pour le Piano. Op. 10.
Impromptu on ". The Blue Bells of Scotland" and '' Mcrch

Megan," for the Piano. Op. n.
Scherzo pour le Pia?io. Op. 13.
zme Valse pour le Piano. Op. 15.
4 Romances sans Paroles pour le Piano. Op. 16.
4 Ditto, ditto. Op. 17.
yne Valse pour le Piano. Op. 18.
Marche Militaire pour le Piano. Op. 20.

Par Ch. Andreoli. London : Augener & Co.
The composer of these pieces will be remembered by some of our
readers as having visited London some years since, and gained
reputation as a first-class pianist of the modern brilliant school.
When he essayed classical music, which was but rarely, he was less
successful. The compositions now before us are so out of the
ordinary style of drawing-room pieces as to deserve a somewhat
more detailed notice than we should otherwise bestow on works of
this kind. Their distinguishing merit, and no small merit too,
now-a-days, is their originality. In the whole series we have not
met with one reminiscence ; and the passage-writing is hardly less
original than the subjects. The pieces are mostly designed for
advanced players ; indeed scarcely one of them can be called
absolutely easy ; while the larger number of them make considerable
demands on the performer. But to those who have the requisite
mechanism, they will well repay for study ; and though, as might
be expected, they are not all of equal merit, there is hardly one
which will not please in performance. We will now say a few
words on each of them. The three " Valses," Ops. 5, 15, and 18,
are all excellent ; the second (in c major), besides being constructed
on most pleasing themes, is so much easier to play than the others

August r, 1871.]

THE MONTHLY MUSICAL RECORD.

107

that i-t is likely, we think, if it only become known, to be very
popular. The first and third are also capital, but decidedly more
difficult. The ' ' Nocturne " is in F minor, and is our favourite of the
whole collection ; it is very melodious and elegant, and the episode
in F major is admirably contrasted with the principal subject ;
though it cannot be called easy, it is by no means immoderately
difficult. The " Impromptu," Op. 11, is a particular showy and
brilliant transcription, which will suit players who have a good
"wrist-action," and are fond of octaves. The " Scherzo," Op. 13
(in E flat minor), is highly original, and very difficult ; we think, too,
less popular in style than some of the other pieces. The two sets
of "Romances" are very interesting, and of moderate difficulty ;
the third and fourth of the first set (Op. 16) being particularly good.
The " Marche Militaire " is less to our taste than some of the
other numbers, but it is a capital piece for practice. The entire
series is worthy the attention of lovers of the modern style of
piano music. It should also be added that the harmony in some
pieces is not quite so correct as might be desired.

" The Lord is my Portion." Anthem.

Evening Hymn (" Through the day thy Love has Spared us ").

Andante in A major, for the Organ.

By F. E. Gladstone. London : R. Limpus.

These three pieces, by the organist of Chichester Cathedral, are
all announced as having gained prizes offered by the College of
Organists. The college is doing valuable service to music by offer-
ing encouragements to the legitimate style of composition. Mr.
Gladstone's writings all display careful study. The writer is
evidently a well-educated musician. Truth to tell, his compositions
are somewhat dry ; but we hold that a man is no more to blame for
this than he would be because he is not a poet. We are at least
glad to be able to credit him with the faculty of writing correctly —
a faculty of which, unfortunately for reviewers, many who rush into
print are deplorably destitute. Both the anthem and the organ
piece have many good points, and well-conceived imitative passages.
The hymn-tune offers, of course, less scope to the composer ; but
if the difficulty of writing a new hymn-tune of any merit at all
is borne in mind, Mr. Gladstone may be said to have been very
fairly successful.

Fairy Land False, composed by Alphons Beck (London : A.
Hammond & Co.), is a very good set of waltzes, which will, we think,
be likely to be popular.

I Purilani, La Donna del Logo, Transcriptions for the Piano, by
Edouard Dorn (London : Augener & Co.), are two capital teaching
pieces, which, however, do not require more than a passing notice.
They are written in Herr Dorn's usual fluent and pleasing manner,
and as they include some of the most popular melodies from the
operas, and, though showy and brilliant, are quite within the reach
of average players, they are sure to be liked.

Snowdrops {Schnee^Ukkchen), Klavicrstiick, by Fritz Spindlek
(London : Augener & Co.), is an elegant little drawing-room piece,
which, without being difficult, is a very good study for accent. The
passages on the second and third pages will be found very improving
to pupils.

MUSIC RECEIVED FOR REVIEW.
D'Alquen, F. M. "True Love," Arietta for Piano.
Versicles and Responses."
'A Communion Service."

(London :
(London :
(London :
Chant.

Wood & Co.

Davis, Rev. F. W.
Novello, Ewer, & Co )

Davis, Rev. F. IV.
Novello, Ewer, & Co.)

Davis, Rev. F. IV. " Benedictus, " Arranged to
(London : Novello, Ewer, & Co.)

Deane, J. H. "Gems from Handel's Operas,
(London : Brewer & Co.)

Deane, J. H. " Handel's Songs," arranged for the Organ, Nos.
1 and 2. (London : Brewer & Co.)

Miller, Rev. H. Walter. "Twenty-five Hymn Tunes." (London:
Joseph Masters.)

for Piano, No.

Conurts, Set*

" I saw thee Weep," Song, by Frank Naish (London : Duncan,
Davison, & Co.), is not a bad sample of the modern ballad-school.
There is a certain amount of monotony about the cadences which
is not quite to our taste ; but on the whole the song may be re-
commended as not by any means an unfavourable specimen of its
class. In other words, it is a very good mixture of Balfe and water.

"Come to me, gentle Sleep," Song, by Frank D'Alquen (London:
Wood & Co.), is a very pleasing ballad for a mezzo-soprano voice.
The composer is, we believe, a son of Mr. Franz M. D'Alquen,
several of whose piano pieces have at various times been reviewed
in these columns ; and, bearing in mind the melodious character
of these latter, we may say that Mr. D'Alquen, junior, is "a chip
of the old block." The song, which is very easy, is likely to please
any who may buy it.

Three Musical Sketches /or the Piano, by Bennett Gilbert.
No. 2, Hunting Song (London : W. Czerny). As we have only
one of these three sketches before us, we are unable to pronounce
any opinion of them as a whole. The Hunting Song is a simple
and melodious piece — perhaps scarcely equal to some of Dr.
Bennett's other compositions, but which may be safely recom-
mended for teaching purposes, for which, from its form, we suppose
it is written.

Ballade pour Piano, par Otto Schweizer (Edinburgh : Pater-
son & Sons), is somewhat out of the ordinary rut of modern piano
pieces. It is a flowing, melodious, and easy piece, which is likely
to please, especially with those who are not too particular about
correct harmony.

Galop de Concert, by Burnham W. Horner (London : Augener
& Co.), is a good piece after a well-worn model. Nearly all the
modern drawing-room composers have tried their hands at the
galop ; and there is nothing very special to distinguish Mr. Horner's
from several others that might be named. Still, of its kind, it is a
very fair piece, and well suited for teaching.

Lntroduclion and Polacca for the Piano, by Burnham W.
Horner (London : Augener & Co.), is better than the piece last
noticed, as it is more original. The only fault we have to find with
it is that it is not written in the proper Polacca rhythm, the accent
in the last bar, which is the essential of this particular dance, being
conspicuous by its absence,

ROYAL ALBERT HALL.- -INAUGURAL PERFORMANCE
ON THE GRAND ORGAN.

The much talked-of monster organ in the Albert Hall, one of the
largest if not the very largest in the world, having been at length
completed, was formally opened on Tuesday, the 18th ult., by Mr.
W. T. Best, the organist of the Hall, who (as is well known) holds a
similar appointment at St. George's Hall, Liverpool. Before giving
any account of the instrument, we must first say a few words about
the player, and his selection of music. Mr. Best's masterly and
finished execution, both on manuals and pedals, is too well known
to need more than a passing reference ; but the wonderful ease with
which he handled the gigantic organ, and the way in which, though
he could have had but few opportunities of making its acquaintance,
he managed to be perfectly "at home " with it, and to bring out its
almost exhaustless combinations, were really remarkable. His
programme, too, was one of peculiar excellence ; it comprised two
preludes and fugues by Bach, Handel's second organ concerto,
Mendelssohn's first sonata (in F minor), and no less than five pieces
by English writers : a very quaint and admirably written "Choral
Song and Fugue," by Dr. S. S. Wesley ; a MS. andante, by Mr.
E. J. Hopkins ; an air with variations, also MS., by Mr. Henry
Smart ; and two pieces from Mr. Best's own pen— one of them (a
march in A minor) being particularly pleasing and effective. The
execution of all these works was most finished, though we should be
inclined to differ in several points from the reading of the talented
organist, more especially in the liberties he took with the time in
Mendelssohn's grand sonata.

With respect to the organ itself, we think it may fairly be con-
sidered a thoroughly representative instrument of the style of its
builder, Mr. Henry Willis, and it brings out into full relief both the
strong and the weak points of his workmanship. And first let us
say that the tone of the solo stops is most charming. Mr. Willis is
particularly successful in voicing his reeds. The solo oboe and
clarionet are especially good, the former being the most perfect
imitation of the orchestral instrument that we ever heard in any
organ. The voix humaine on the swell is also a good specimen of a
stop which is rarelv, if ever, entirely satisfactory. The harmonic
flutes, and all the' reedy-toned flue-work (gambas, &c), are of
excellent quality, and the ponderous 32-feet stops on the pedals,
of which there are four, speak with remarkable promptness and
clearness of tone ; and yet, with all these merits, we are unable to
regard the instrument as completely successful. There is a want of
proper balance in the tone of the full organ, arising, we believe,
„from what we consider the fundamental error of Mr. Willis's prin-

io8

THE MONTHLY MUSICAL RECORD.

[August I, 1 87 1.

ciples of organ-building. In order to ensure greater brilliancy and
purity of tone, he mostly voices his reeds on a heavier pressure of
wind than his flue-stops, so that these latter are entirely " killed "
by the former, and in the loud organ absolutely nothing but reeds
can be heard. That the diapasons are not deficient in power was
clearly to be perceived in the first movement of the "St. Ann's
Fugue," which Mr. Best played on the 8-feet flue-work; yet they
are so over-matched by the reeds that we missed altogether the
feeling of richness and fulness of body in the tone which gives so
great a charm to many old and some modern organs. We think
the builder is less to blame for this than the modern school of organ-
playing, which too often, forsaking the legitimate style, endeavours
to turn the organ into an orchestra, and obtain from it effects for
which it is utterly unfitted. The frequent use of the reed-stops for
rapid passages requires them to be voiced on a heavy wind, that
they may speak with more promptness, and thus the balance of tone
is destroyed. Mr. Willis would no doubt say, "This is the kind of
organ the public like, and organists insist upon." We can only
reply, "So much the worse for the public and organists." It is only
fair, however, to add that, regarded as a specimen of the modern
orchestral style of organ, the instrument must undoubtedly be con-
sidered a brilliant success.

For the sake of our organ-loving readers we subjoin the specifica-
tion of the instrument : —

Pedal Organ, ccc — G (32 notes), 21 stops: Double open diapason, wood,
32 ft. ; double-open diapason, metal, 32 ft. ; contra violone, metal, 32 ft. ; open
diapason, wood, 16 ft. ; open diapason, metal, 16 ft. ; bourdon, wood, 16 ft. ;
violone, metal, 16 ft. ; great quint, metal, 12 ft. ; violoncello, metal, 8 ft.;
octave, wood, 8 ft. ; quint, metal, 6 ft. ; super-octave, metal, 4 ft. ; furniture,
5 ranks ; mixture, 3 ranks ; contra posaune, wood, 32 ft. ; contra fagotto,
wood, 16 ft. ; bombarde, metal, 16 ft. ; ophicleide, wood, 16 ft. ; trombone,
metal, 16 ft. ; fagotto, wood, 8 ft. ; clarion, metal, 8 ft.

Choir Organ, cc— c (61 notes), 20 stops: Violone, 16 ft. ; viola da gamba,
8 ft. ; dulciana, 8 ft ; lieblich gedact, 8 ft. ; open diapason, 8 ft.: vox angelica,
8 ft.; principal (harmonic), 4 ft. ; gemshorn, 4 ft.; lieblich flote, 4ft.; celes-
tiana, 4 ft. ; flageolet, 2 ft. ; piccolo (harmonic), 2 ft. ; super-octave, 2 ft. ;
mixture, 3 ranks ; corno di Bassetto, 16 ft. ; clarionet, 8 ft. ; cor anglais, 8 ft.;
oboe, 8 ft. ; trompette harmonique, 16 and 8 ft. ; clarion, 4 ft.

Great Organ, CC — c (61 notes), 25 stops: Flute conique, 16 ft. ; contra
gamba, 16 ft.; violone, 16 ft. ; bourdon, 16 ft.; open diapason, 8ft. ; open
diapason (No. 2), 8 ft. ; viola da gamba, 8 ft. ; claribel, 8 ft. ; flute har-
monique, 8 ft. ; flute a pavilion, 8 ft. ; quint, 6 ft. ; flute octaviante harmonique,
4 ft. ; viola, 4 ft. ; octave, 4 ft. ; quinte octaviante, 3 ft. ; piccolo harmonique,
2 ft. ; super-octave, 2 ft. ; furniture, 5 ranks ; mixture, 5 ranks ; contra
posaune, 16 ft. ; posaune, 8 ft. ; trompette harmonique, 16 and 8 ft. ; tromba,
8 ft. ; clarion harmonique, 8 and 4 ft. ; clarion, 4 ft.

Swell Organ, cc — c (61 notes), 25 stops : Double diapason, 16 ft.; bourdon,
16 ft.; salcional, 8 ft. ; open diapason, 8 ft.; viola da gamba, 8 ft. ; flutes a
cheminees, 8 ft. ; claribel flute, 8 ft. ; quint, 6ft. : flute harmonique, 4 ft. ;
viola, 4 ft. ; principal, 4 ft. ; quinte octaviante, 3 ft. ; super-octave, 2 ft. ;
piccolo harmonique, 2 ft. ; sesquialter, 5 ranks ; mixture, 5 ranks ; contra
posaune, 16 ft. ; contra oboe, 16 ft. ; baryton, 16 ft. ; voix humaine, 8 ft.;
oboe, 8 ft. ; cornopean, 8 ft. ; tuba major, 8 ft. ; tuba, 4 ft. ; clarion, 4 ft.

Solo Organ, cc— c (61 notes), 20 stops: Contra basso, 16ft. ; flflte a
pavilion, 8 ft. ; viola d'amore, 8 ft. ; flute harmonique, 8 ft. ; claribel flute,
8 ft. ; voix celeste, 8 ft. ; flute traversiere, 4 ft. ; concert flute, 4 ft. ; piccolo
harmonique, 2 ft. ; cymbale ; corno di Bassetto, 16 ft. ; clarionet, 8 ft. ;
bassoon, 8 ft. ; French horn, 8 ft. ; ophicleide, 8 ft. ; trombone, 8 ft. ; oboe,
8 ft.; bombardon, 16 ft. ; tuba mirabilis, 8 ft. ; tuba clarion, 4 ft.

Couplers. — Solo sub-octave (on itself), solo super-octave (on itself), swell
sub-octave (on itself), swell super-octave (on itself), solo to great, swell to
great, choir to great, swell to choir, solo to choir, solo to pedals, swell to
pedals, great to ptdals, choir to pedals, sforzando.

PHILHARMONIC SOCIETY.
The eighth and last concert of the Philharmonic Society, on the 3rd
of July, was one of the best, if not the very best, of the season. The
concert commenced with Mozart's symphony No. 5 in E flat, and
the second part with Beethoven's symphonyNo. 7 in A, the excel-
lent performance of which was worthy of the high capabilities of
the orchestra. In Beethoven's colossal symphony the somewhat
mysterious and stately majesty of the introduction, and the charac-
teristic buoyancy of the succeeding vivace, were never more effec-
tively brought out. A similar commendation was fairly earned by
the rendering of the well-known allegretto, as well as by the
piquant vivacity of the scherzo and the'irrepressible hilarity of the
finale, amounting, indeed, to absolute revelry.

A conspicuous feature of the evening was the extraordinary violin-
playing of Signor Sivori, whose appearance was renewed at this con-
cert by general desire. Signor Sivori gave on this occasion a fine
performance of the first movement of his own violin concerto in A,
which was distinguished by the most touching and exquisite delivery
of the cantabile passages, and exhibited a tour deforce and mar-
vellous profusion of bravura notes that were quite astounding. The
manuscript of the work, if indeed it has been transferred to paper,
ought to be placed in a museum of curiosities ! Signor Sivori also
played his elegant " Romance sans paroles in E flat," with piano-

forte accompaniment, and in response to an enthusiastic encore
substituted the " Cavatina" by Raff.

The singers were Mdlle. Titiens and Mdme. Trebelli-Bettini, the
former lady supplying the place of Mdlle. Marimon. The overtures
were Professor W. Sterndale Bennett's Paradise and the Peri, and
Weber's Jubilee.

ROYAL ITALIAN OPERA, COVENT GARDEN.

The season of performances for 1871 at the Royal Italian Opera
closed on the 22nd ult. As we have not from time to time recorded
the doings there, a short account of the whole season may interest
our readers.

The first performance this year took place on Tuesday, March
28th, Lucia di Lammcrmoor being the opera selected for that occa-
sion. The principal parts were sustained by Mdlle. Sessi (Lucia)
and Signor Mongini (Edgardo). On the following Saturday (April
1st) Guglielmo Tell was performed, Mdme. Miolan-Carvalho and
M. Faure making their re-appearance at this house after a con-
siderable period of absence. A special feature of the performance
was Signor Mongini's Arnoldo — a part for which his powerful upper
notes give him peculiar qualifications.

On April 8th, Mdme. Pauline Lucca re-appeared as Margherita
in Faust, and shortly after Mdme. Csillag (after a four years'
absence) was once more heard on these boards as Donna Anna in
Don Giovanni.

Mdme. Adelina Patti, whom we may perhaps, without disparage-
ment to others, call the prima donna of the company, appeared for
the first time this season on April 15th, as Amina, in La Sonnam-
bula, and ajweek later Signor Mario gave the first performance of
his final season in II Barbierc di Siviglia, Mdme. Patti representing
the heroine — another of her favourite impersonations.

On May i2th,rMdme. Patti performed Desdemona in Rossini's
Otcllo, for the first time in this country, giving evidence of powers
as a tragic actress and singer, with which even her admirers would
scarcely have credited her.

On May the 16th, Mdme. Pauline Lucca appeared as Zerlina in
Fra Diavolo, and subsequently as Cherubino in LeNozze di Figaro,
Valentina in Les Huguenots, and Selika in L 'Africaine.

The next event of importance was the revival on June 8th of
Meyerbeer's L'Ftoile du Nord, the parts of Catherine and Peter
being sustained respectively by Mdme. Patti and M. Faure. In
the same month, what were announced as Signor Mario's "last
performances " of his principal characters commenced.

On June 1st, M. Faure appeared with great success in M.
Ambroise Thomas's Hamlet, an opera which we think, however, is
not likely to live.

Mdme. Adelina Patti has also appeared in other tragic parts,
such as Leonora in // Trovatore, July 3rd, and Valentina in Les
Huguenots, July 17th, and in both characters fully satisfied any
expectations that had been raised.

The only real novelty of the season was Cimarosa's charming
opera Le Astuzie Femminili, a worthy companion to his better-
known Matrimonio Segrefo, which was produced (for the first time
in England) on July 15th, and repeated subsequently. The prin-
cipal parts were performed by Mdlles. Sessi and Scalchi, Mdme.
Vanzini, and Signori Bettini, Cotogni, and Ciampi.

Signor Mario made his final appearance on the stage in this
country on the 19th July, in La Favorita. Though his voice had
been for some time past its prime, his ability both as a singer
and an actor was such as to enable him to hold his position in
public esteem to the last. It will be difficult, if not impossible, to
supply his place.

In addition to the singers already mentioned, other members of
the company who have appeared have been Mdmes. Vanzini, Lieb-
hart, De'meric-Lablache, Monbelli, Dell' Anese, and Mdlle. Corsi ;
Signori Bagagiolo, Capponi, Urio, Fallar, Ciampi, Rossi, and
Raguer. The conductor has been Signor Vianesi, who has been
sometimes assisted by Signor Bevignani.

Jftusrtral &ott$.

The' excellent performances of English operas by Mr. George
Perren's company at the Crystal Palace have been resumed, under
the conductorship, as usual, of Mr. Manns.

A most commendable feature has been introduced into the Satur-
day summer concerts at the Crystal Palace. Concert recitals of
complete operas have been given there, as a variation from the
ordinary miscellaneous programme. Don Giovanni and Figaro
have been the works recently produced in this way. Could hot the

August i, 1871.] \

THE MONTHLY MUSICAL RECORD.

109

directors of these concerts give the musical public an opportunity of
thus hearing the music of some of the grandest operas, which, from
various causes, are virtually banished from the stage? To name but
one of many, Weber's Euryanthe would be well worthy of perform-
ance in this way.

The Society of Arts has been continuing the series of concerts in
the Albert Hall in aid of a national training-school for music. We
are sorry to say that the programmes have been of the most common-
place description, unworthy alike of the society and of the proposed
object.

Among the foreign organists of distinction who are announced as
likely to perform on the now completed organ in the Albert Hall,
are Messrs. Mailly, from Brussels ; Lohr, from Szegedin ; Bruchner,
from Vienna ; Professor Haupt, from Berlin ; Professor Herzog,
from Erlangen ; and Dr. Faiszt, from Stuttgard.

We are glad to find that articles in our paper are thought worthy
of quotation in other journals. In the Musical Standard of July
the 8th are two extracts from the article in our May number, on
"The Imperial Family of Austria in its Relation to Music and
Musicians," and in the following number of the same paper (July
the 15th) is another quotation from the article. Though in each
case the quotation is verbatim, no acknowledgment is made of the
source from whence it is derived. This we consider neither courteous
nor fair to ourselves — an opinion in which we believe our readers
will concur.

Organ Appointment. — Mr. R. Felix Blackbee to the church of St.
John the Divine, Vassal Road, Kennington.

TO CORRESPONDENTS.

All communications respecting Contributions should be addressed
to the Editor, and must be accompanied by the name and address
of the writer, as a guarantee of good faith.

The Editor cannot undertake to return Rejected Communica-
tions.

Business letters should be addressed to the Publishers.

"THE MONTHLY MUSICAL RECORD."

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CABINET PHOTOS

OF THE

GREAT COMPOSERS.

Is. 6d. each.

BACH.

BEETHOVEN.

CHOPIN.

GLUCK.

HANDEL.

HAYDN.

LISZT.

MENDELSSOHN.

MEYERBEER.

MOZART.

PAGANINI.

SCHUBERT.

SCHUMANN.

WAGNER.

WEBER.

London: AUGENER AND CO., Beethoven House.

TTYMN TUNES, composed by R. M. Milburn,

71 Magdalen College, Cantab. Part I. (containing 14 Tunes) price
is. 6d. New settings to "Onward, Christian Soldiers;" "Art Thou
Weary f Jesus lives ; " " Now the day is over," &c. &c.

London : Novello, Ewer, and Co., 1, Berners Street, Oxford Street W.
Churchman, Broadway, Hammersmith, W.

TN Commission bei C. Gerold in Wien ist erschie-

J- nen : Denkschrikt aus Anlass des hundertjahrigen Bestehens der
Tonkunstler-Societat, im J. 1862 reorganisirt als "Haydn," Witwen und
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September «, i87i.] THE MONTHLY MUSICAL RECORD.

Clje Utattjjjg SUtstxal gletarir.

SEPTEMBER i, 1871.

MODERN ORGANS, AND ORGAN-PLAYING.

Any one who compares the older English organs with
those of more modern construction, cannot fail to be
struck by several important differences they present. In
many respects the newer instruments are far superior to
those of a hundred years ago. In the first place they are
much more complete. In old organs the swell is nearly
always imperfect — very seldom going below tenor c, while
it most frequently only extended to fiddle G, or even
middle C. Now, on the contrary, it is quite the exception,
even in organs of moderate size, to find a swell which
does not reach to CC. Then again, in the last century,
English organs were almost invariably "G organs," fre-
quently with "short octaves" in the bass. Such a thing
as an independent pedal organ was never to be met with.
Though the contemporary German instruments were
always furnished, more or less completely, with this impor-
tant department, and even 32-feet stops are not unfre-
quently to be met with, the English organs had at most
an octave, or an octave and a half of pedals to pull down
the bass keys, and frequently not even that. Our present
builders, however, almost invariably give at least one stop
to the pedals, and in all large instruments a pedal organ
is to be found proportionate to the size of the manuals.
A third great improvement is the general introduction of
"double" (or 16-feet) stops on the manuals. In all these
respects there can be no doubt that the art of organ-
building in this country has much improved.

Again, as regards mechanical appliances, great advances
have been made of recent years. We need only mention
the "pneumatic lever," by means of which the touch even
of the largest organs becomes as easy and light as that of
a grand piano; the various "composition pedals" and
other contrivances for shifting the stops, so useful — nay,
indispensable in large instruments ; and the ingenious
methods adopted for supplying various pressures of wind.
In all these respects modern organs have great advantages
over their predecessors.

The questions then naturally arise — Are our present
instruments on the whole better than the older ones? Is
the tone improved? Is the general effect superior? And
are our average modern organs likely, in 1 50 or 200 years,
to be as good as those of Father Schmidt and Renatus
Harris are now ? To these inquiries it is not easy to give
a general categorical answer. Undoubtedly in some
details the tone is improved. Many of the stops— more
especially the reeds — are more brilliant and of purer
quality than formerly. Several new qualities of tone —
such as those of the whole viola family — also distinguish
the modern from the older instruments. Yet we fear
it cannot be said that, on the whole, the ensemble is finer
than in the organs of a hundred years since. More atten-
tion is perhaps given to the voicing of the individual stops,
and less to the way in which they will combine with each
other. Just as in the well-known story of the painter
who, in order to produce the most beautiful face possible,
combined the most perfect features he could find from
various countenances, the total result being so inde-
scribably hideous that it is said to have driven him mad,
so the various component parts of an organ may singly
be admirable, and yet so ill-adjusted one to the other as
that the tone of the full instrument may be even un-
pleasant. Strawberries and shrimps are both excellent

alone, but we should respectfully decline to eat them
together. Just so it may be with an ill-balanced organ ;
and it is in this respect that we think many of our modern
builders fall far behind some of their predecessors. There
are organs to be met with in which the reeds are so pro-
minent that scarcely anything else can be distinguished.
There are others, again, in which the mixtures are so harsh
and screaming that the instrument seems to be "all top
and no bottom." In other cases the foundation stops are
deficient in power and body, thus producing thinness of
effect ; and so on. Another peculiarity of many modern
organs is the reedy tone of the flue-stops. Undoubtedly
the family of the gambas give brightness and variety of
tone to the instrument ; but in many cases this quality is
so prominent that the pure round diapason tone is alto-
gether lost. We lately heard an organ, and not a bad
one of its kind, in which the diapasons were so reedy that
it was all but impossible to tell whether or not the swell
reeds were coupled. Let us not be misunderstood, and
supposed to say that most modern organs are open to one
or other of these charges. All we say is, that we think
the balance of tone is less considered by many of our
modern builders than individual excellence of the separate
stops.

This is, we think, chiefly to be accounted for by the
change in style of modern English organ-playing. Nine
out of every ten organists, if they sit down at a new organ,
will trouble themselves far more about showing off the
"solo stops "than anything else. And this tendency is
fostered by the prevailing character of the greater portion
of the most popular modern compositions for the instru-
ment. The offertories and other organ-pieces of the late
Lefe'bure-We'ly, the type of his class, are for the most part
very pretty but very trivial, and frequently altogether
unworthy of the dignity of the organ. But it must be
admitted that they are admirably contrived for showing
off a large instrument. Not thus did the great organists
of the last century— Bach and his successors— write. In
their works the thoughts are elevated and dignified, even
if sometimes a little dry. Their compositions were the
product of years of severe study, such as but few musicians
now undergo. The modern imitations of their style are
but too often mere " chord-monger ing ;" the form is there,
but the spirit is wanting. Another reason for the change
in the style of modern organ-building, is the love for
arrangements from orchestral works. These in many
cases are admirably effective, and thoroughly suitable for
the instrument. Nothing probably shows off the full
power of a large organ to more effect than one of Handel's
grand choruses. Many of the movements from the sym-
phonies, &c, of the great masters can, by judicious
arrangement, be rendered with only less effect on the
organ than on the orchestra. But there are limits beyond
which it is impossible to pass without violating, not to say
degrading, the instrument. Rapid violin passages cannot,
as a general rule, be played on the organ. We are not
speaking now of physical possibility. Owing to the im-
proved mechanism of modern instruments, almost any
amount of rapidity is practicable ; yet it is not a repro-
duction but a caricature of the original. We are reminded,
in hearing this style of music, of the old organ-builder's
(Snctzler's if our memory serves us) complaint of a very
florid player, " He do run over my keys like one cat : he
do not give my pipes time to speak !"

With respect to the durability of modern organs, and
to the probability of their being equal in two centuries'
time to what the best of the old organs are now, it is
difficult to speak with certainty ; but we must confess to
feeling our doubts. Formerly quality was the first thing
considered ; now it is generally quantity. The almost

112

THE MONTHLY MUSICAL RECORD.

[September I, 1871.

universal desire is to get as many stops as possible for the
money. How is it in the power of any organ-builder to
do himself justice under such conditions ? It is not to be
supposed that any man will take as much trouble in
building an organ for £800 as he would in constructing
the same instrument for ,£1,000, supposing the latter to
be a fair value for the work. The £200 difference would
represent so much additional finish to workmanship and
tone. In the exceptional cases where carte blanche is
given to a really competent artificer, an exceptionally good
instrument is the result. We know of an instance in
which a liberal sum was named to one of our first builders,
and his instructions were to construct the best instrument
that could be made for the money. The result is an
organ the remarkable excellence of which is universally
admitted by all who have heard it. In organ-building,
as in most other things, " cheap " and " nasty " usually go
together. _^==_==

[%* Owing to the pressure on our space in this Number,
we are reluctantly obliged to leave the continuation of
Berlioz's articles on " The Symphonies of Beethoven "
till our next Number.— Ed. M. M. R.]

JOHANN SEBASTIAN BACH.

" Dieser Leipziger Cantor ist eine unbegreifliche Erscheinung der Gottheit."

Zelter, the friend of Goethe, was right in describing the
old cantor of St. Thomas as an " inconceivable appear-
ance." Although there were great men in music before
and after him, his place in the art is unique, and might
well be compared to that in modern history of Martin
Luther.

In musical history, Bach stands in one respect without
compeer ; not so much that he was far in advance of his
time, as that it was his own independent will that made
him great. He was intellectually conscious of everything
he did. Whether he taught or wrote, such self-possession,
self-control, and self-judgment were not known in music
before. There have been but two composers who can be
said in this'even to have approached him— Handel and
Beethoven. To truly value Bach's genius, we have only
to compare his works with those of the composers who
were before him ; nay, in a more striking manner is his
greatness evidenced by a comparison with composers
who wrote sixty or seventy years after him. The progress
they could make after.him was by no means so great as that
which so entirely separates him from all predecessors.

In looking at a composition of Sebastian Bach, we are,
in the first place, struck with its completeness ; secondly,
with its earnestness ; and lastly, with the absence of any-
thing meagre, poor, or inartistic. More or less, the pro-
ductions of an artist originate from, and are ultimately
identical with, the chief peculiarities of his character as a
man. Let us see how these great attributes of Bach, as
a composer, find analogies in the development of his
earlier life. When only a boy of eleven, his desire to
learn was so great, that during six months he frequently
sacrificed part of his night's rest to copy a music-book
containing pieces by Kerl, Frohberger, Fischer, Pachelbel,
Buxtehude, and others ; and as he had to accomplish his
self-imposed task secretly, he enjoyed no other light than
that of the moon. Some years after, when living at
Luneburg, he saved every little trifle, in order to defray
his travelling expenses to Hamburg, where he could hear
the celebrated organist, Reincke. But not satisfied with
this, he went to the more distant town of Celle, where
the reigning duke had a chapel, in which the musicians
were nearly all Frenchmen, as there he could note and

study French taste and art ! That he was intimately
acquainted with the works of Rameau and Couperin, as
well as those of his great contemporary, Domenico Scar-
latti, all his biographers assure us. But is it not a striking
instance of his desire to learn and profit by the com-
positions of others, that he should have transcribed the
violin concertos of Vivaldi, then the most favourite com-
poser in the "stilo concertante ? " The melodies of
Vivaldi were so popular, and his simple, fluent style so
much admired, that for more than thirty years every
concerted piece, including those of Benda, and Quanz of
Berlin, were written after his manner. After Bach was
appointed cantor in St. Thomas's School at Leipzig, he
would sometimes say to his eldest son, "Well, Friedemann,
shall we go to Dresden to hear the pretty little songs ?"
He meant the operas of Hasse, then in the zenith of his
fame. It can easily be understood that one so apprecia-
tive of all that was good in contemporaries, must gain
completeness in all his productions. The zeal of Sebas-
tian Bach thus becomes an example well worthy of our
imitation. Our life is too short to learn unaided. There
is no disparagement in being eclectic ; and if strong in-
ventive faculties are given, they can only become accom-
plished and refined by learning from others.

Regarding the earnestness with which Bach composed,
we have the best proof of it in the severity with which he
judged himself. His self-criticism was more rigorous
than is to be found in any other composer, Beethoven
perhaps excepted. Whenever he found that he had com-
posed aught that was weak and ignoble, or that was not
in accordance with his — perhaps from further study, re-
fined and improved — taste, he never hesitated to alter it,
or if necessary to discard it completely. There cannot
be a more shining illustration of artistic conscientiousness
than is presented by the immortal " Wohl temperirte
Clavier," which forty-eight preludes and fugues he re-
wrote no less than three times. If any young composer
should desire evidence of how this great musician recon-
sidered, condensed, and perfected his productions, let him
attentively compare an ordinary edition of this work
with the last German edition brought out by Dr. Chry-
sander, with Bach's final corrections. Beethoven has
given us a similar example in composing three overtures
to Leonora. In our day a ready excuse is always offered
that such genius as Bach and Handel, Mozart and Beetho-
ven were endowed with does not now exist ; but are
the earnest studies of these illustrious composers made
sufficiently prominent ? Is the bulk of music-paper that
was used by Mozart, when in the retirement of Salzburg,
in 1766, ever thought of? And is it generally known that
Cherubini devoted no less than eleven years to the study
of thorough-bass and counterpoint ?

Comparing the works of Bach with those of his pre-
decessors, we find in them, as well as greater richness,
greater variety and more carefully sifted matter. The
structure of his melody is more concise and more com-
plete in itself, so that the addition of another part is not
a necessity. The melody is modelled out of the harmony
of which his violin compositions, such as his great Cha-
conne, are examples. Comparing his chromatic fantasia
with any composition of Scarlatti, Rameau, or Couperin,
we shall find that his modulations are bolder, and his
passages are more fluent and intimately connected with
the air. Bach never condescended to anything that was
insipid or childish. Rameau wrote a piece in imitation
of the crowing of a cock ; Kuhnau, Bible stories with
musical explanations ; Frohberger attempted, in twenty-
six pieces, the description of a tour of Count Thun with
his servant on the Rhine, including even the dangers of
crossing the river when the ice was breaking up. Such

September r, .871.] THE MONTHLY MUSICAL RECORD.

113

weakness was impossible to Bach. It is rarely difficult to
discover the difference in the manner of writing between
a genuine composer like Bach, who wrote many large
vocal works, and mere virtuosi, who could be pleased with
trifling, like Couperin and Domenico Scarlatti, of whom
the former never wrote an opera, and the latter had ended
his career as the most wonderful player of the age before
he began to write for the stage. This distinction in the
quality of composition recurs fifty years later in Mozart
and Clementi, although it must be admitted that the
great Roman pianist was a much more accomplished
composer than either Couperin or Scarlatti.

There was not a form of composition that Bach did not
improve. As an instance let us take the prelude. Before
him an incoherent rambling over the keys to set free the
fingers, with him it became a regular movement, preparing
the matter of the whole suite or partita it initiated. Bach
also improved the courante, allemande, and sarabande,
and infusing the giguejwith life developed it almost to
a scherzo. He enlarged the toccata, giving it nearly the
length of a fantasia. His fugues were no longer dry
specimens of musical science ; they fulfilled all claims of
fluent melodious pieces.

Leaving his merits as a composer, let us see what he
did for the art of playing, which was before him but very
imperfect. This need of improvement had been long
recognised : double keyboards and stops, analogous to our
pedals to alter the tone, had been introduced to perfect
the instrument, but a judicious employment of the fingers
of the player had not been thought of. A system of play-
ing in the more complicated keys did not exist, nor was it
known how to tune the instrument to admit of their
employment, until Bach, by the comprehensiveness of his
genius, invented this desideratum. Generally the three
middle fingers only were used, the little finger and thumb
being rarely called upon. Indeed, by the position the
hand was then held in, they could scarcely touch the key-
board, as the other fingers were stretched out horizontally
— as Emanuel Bach says, " as if they were hanging on a
wire." Couperin's " L'Art de toucher le Clavecin " (pub-
lished in 17 17) describes different methods for improving
the fingering, but what Bach did in this respect is very
much more important. A sufficient proof of this is that
any composition of Couperin, Rameau, or Scarlatti may
be executed by Bach's fingering with comparative ease to
the player, while Couperin's, if applied only to a three-
part fugue of Bach, will be found wholly insufficient, and
the performance impracticable. Several French critics,
and others, have asserted that Bach copied his system of
fingering entirely from Couperin ; but the reply to this is
that Bach was thirty-two years old in 1717, and was then
known far and near as the best performer of his time ; and
it was in that year the famous French player Marchaud
left Dresden hurriedly to evade comparison with him !
Bach's system of fingering remained for a time a secret
with his sons and pupils, until Emanuel Bach, and later
Forkel and Griepenkel, made it public.

As Bach's fingering is nearly the same as that we now
use, a comparison with those that Bach found will not be
without interest : I will therefore append them, with the
authorities from which I have taken them.* That his

* In Daniel Speer's " Musikalischen Kleeblatt," Ulm, 1867, we find :-
Ascending.
CDEFGABCDEFGABC
232323232323232

Right hand.
Left hand .

12121212

Right hand.
Left hand .,

Descending.
CBAGFEDCBAGFEDC

1 2 1 2

23232323

323232

treatment of the clavichord, for neatness, elegance, round-
ness, and beauty, far surpassed anything that had been
heard before, is proved by time ; in fact, his style is the
real basis, in the best sense, of our modern way of playing.
As Mozart's playing is described, we find it resembling
that of Bach, as little movement as possible being per-
mitted of the fingers, which were rather bent inwards than
raised after having touched the keys. To our present
notions, distinctness could have been scarcely possible,
yet Bach must have had crispness in his touch, as he gave
one of his pupils this advice : " that the tones should
resemble balls ranged on a string, touching each other,
but never adhering together."

If not directly, it may be claimed for Bach to have
indirectly brought about improvements in making the
piano. After the organist C. P. Schroter had invented
the " fliigel," as the grand piano is called in Germany, at
Nordhausen, in 1717, the celebrated Gottfried Silbermann
made some of these instruments, and showed them to
Bach, who, with his usual frankness, indicated their weak
points, finding fault with the weakness of the treble, the
heaviness of the touch, and so on. Silbermann, offended
by his remarks, was for a time hostile to Bach ; but
recognising afterwards that he was right, and being a
clever and ambitious man, succeeded in overcoming the
blemishes, and had the satisfaction of being ultimately
praised by Bach for his success.

We thus find Johann Sebastian Bach in each branch of
his art an accomplished, earnest, and noble artist. As a
man he was amiable and kind, despising ostentation and
free from egotism, although honoured by princes and the
distinguished men of his time. In the presence of
inferior artists he was modest and unassuming — vanity
and pride were unknown to him. Among his many
virtues were tolerance of the shortcomings and a kindly
appreciation of the merits of others. A faithful and loving
husband, a strict but kind father, a painstaking and ever-
encouraging teacher, and a devoted Christian, he fulfilled
with scrupulous care his duties as a loyal citizen, and was
respected and revered by all who knew him. He was
and will remain a model as an artist and a man. As to
his music, play one of his great fugues, try one of his
sublime organ toccatas, or let your eyes wander over the
vast fields of beauty with which the double choruses in
his grand St. Matthew Passion are spread, and you will
agree with Goethe, who said —

"Mir ist es bei Bach, als ob die ewige Harmonie sich mit sich selbst
unterhielte."

(To me it is with Bach as if the eternal harmonies discoursed with one
another. )

E. P— R.

One year later, by "Anonymous," Augsburg (six editions, the last 1731): —

Ascending.

CDEFGABCDEFGABC

Right hand... 1 23232323232323

Left hand ... 321321X1X1X1X1X

Descending.
CBAGFEDCBAGFEDC
Right hand... 32121 2121212121
Left hand ... X12323232323123

Mattheson, in his " Kleine Generalbass Schule," Hamburg, 1735, gives it
in the following way : —

Ascending.
CDEFGABCDEFGABC
Right hand... 232323232323234
Left hand ... 2ixiXiXixixixiX

Descending.
CBAGFEDCBAGFEDC
Right hand... 43212121212121X
Left hand ... 121212121212123
It is most astounding that for nearly two centuries the mode of fingering
scarcely changed, as we find the same in the " Orgel und Instrumenten-
Tabulatur, by Amerbach, 1571.

ii4

THE MONTHLY MUSICAL RECORD.

[September I, 1871.

THE "TONIC SOL-FA REPORTER" AND OUR

JULY ARTICLE.
The Tonic Sol-fa Repo7'ter, the acknowledged organ of
this system, in its numbers for July 15th and August 1st,
has devoted two papers to a notice and discussion of the
article which appeared in these columns relating to their
method. As we have reason to believe that some interest
was taken by our readers in that article, we think they
will like to know what the Sol-faists themselves say on
the subject, and we therefore propose to quote, and where
necessary to reply to, the remarks of the Reporter.

The first of the two papers is devoted to a quotation of
those passages which are to the taste of the Sol-faists,
comprising the greater part of the first page of our article.
As there is no difference of opinion on these matters, it is
needless to dwell on them. But in the Reporter for
August 1st the points in which we differ from Sol-faists
are discussed, and it is to this article that we propose to
direct our attention. It is stated therein that we make
two " objections " to the Sol-fa movement — first, the pre-
sumed hostility to the common notation, and, second, the
application of the method to finger-board instruments.
Now it is not worth while to dispute about words ; but,
in point of fact, we made no " objection " to either. Sol-
faists, if they choose, can oppose the ordinary system —
we do not object ; they will not hurt us, only themselves ;
and as to instrumental music, we only doubt the con-
venience of the notation— we do not " object." If a man
chose to travel from London to Bristol by way of Birming-
ham, we should not object j we should simply say that he
gave himself a great deal of needless trouble.

But to pass from merely verbal questions. The Reporter
quotes, with reference to instrumental music, the whole
of the paragraph in our article which begins at the end
of page 83 with the words " Of late attempts have been
made," &c, and comments upon it as follows : —

" Our instrumental movement has been hindered by the want of
sufficient printed music to carry on the work of the student. But
it has proved far more successful than we expected, and we are
steadily accumulating a sufficient collection for the purposes of the
learner. We are glad that the Record allows the probable useful-
ness of our method as applied to the violin and other instruments
depending on the ear. We ourselves, years ago, doubted its appli-
cation to the piano, on the ground that the direct correspondence
between a certain absolute pitch-note on the piano and a certain
place for that note on the musical staff was simple and unmistak-
able, and therefore a valuable help to the learner. We did not see
then that it carried the mind away from the structure of music to
the structure of an instrument. One pupil after another began to
apply our method to the piano, and insisted on playing in one key
as easily as in another. Our pupils were so accustomed to carry the
sense of key-relationship in their minds, that they could not endure
to play the piano without it. This sense of key-relationship has
thus proved to us to be a far more important educational help than
that correspondence of finger-board and staff which we have just
referred to. As to the difficulty of playing rapid passages from a
Tonic notation, our first pianoforte pupil solved it. She said, ' I
prefer the Sol-fa notation to the other because I can see the accents
better ; I can recognise the chords on which the rapid passages are
constructed more clearly, and this being the case, I can remember a
page of music more easily.' In this faculty of remembering long
pieces of pianoforte music, the structure of which she had once
mastered, this young lady greatly excelled. We are persuaded that
the adoption of this plan in schools generally would make the study
of the pianoforte an intelligent joy instead of a degrading drudgery.
But boarding-school prejudice is nearly as hard to conquer as
musicians' prejudice, so that we shall have a long fight.

"But our case may be made still stronger. It is incessantly
dinned into our ears that Sol-fa notes are on a dead level, while the
common notation is pictorial, and upon that is founded the assump-
tion that the latter is preferable for playing rapid passages at sight.
We confidently affirm, however, that rapid passages of unusual
difficulty are never played at sight by learners. They are laboriously
analysed, and at first so slowly played that one measure frequently
becomes half-a-dozen. This is notably the case with the Record's

own example, Thalberg's ' Home, Sweet Home,' a piece which
certainly no school-girl ever played at sight. Here the pictorial
argument is sadly at fault. By the sudden insertion of the treble
clef in the middle of an arpeggio for the left-hand part, a note
which is really a minor third above the previous one looks as if it
was an octave and half below, and this intelligible process is
repeated sixteen times in one page ! It produces, amongst other
results, the striking pictorial effect of notes nearly two octaves apart
being written on the same lines, or as the Record would have it,
on a ' dead level.' Besides this, there occurs at least eight times in
the piece a brilliant flight of more than thirty ' quadruple quavers,'
which should be in the pictorial shape of a cone. But, unfortunately,
just as the brilliancy is reaching its climax, the notes fall suddenly
down, and are ordered to be played an octave higher by the mark
'8va.' Thus the beautiful pictorial shape collapses, like a house
with its pointed gable smashed in. We might point out the further
defect of the melody being mixed up with the arpeggios, and
moving from bass to treble and from treble to bass, so that it
becomes impossible to follow it at sight. These things occur in a
piece known to almost every school-girl, and certainly to every
teacher. The Editor of the Record could scarcely have furnished
us with a more striking example. Who, after this, will affirm that
the common notation is pictorial?

' ' Now, for our Tonic Sol-fa notation we have never claimed that
it is pictorial, except in the second degree — that is, through the
memory of the three keys of the modulator and their related minors
printed in the mind's eye. But we do claim that such a picture of
musical truth, even seen through the glass of memory, is better far
for teaching purposes than a direct picture so imperfect and contra-
dictory as that we have described. The teacher knows that such
passages have to be analysed, slowly spelt out and mastered before
they can be properly played, and we have no hesitation in saying
that for this purpose our Tonic Sol-fa. notation is immeasurably
superior to the old."

Now the Reporter here states that the ordinary notation
" carries away the mind from the structure of music to the
structure of the instrument." Of course it does, to a
certain extent ; and we should very much like to see any
one who ever learned to play the piano without thinking
of the construction of the instrument. It is upon this
that the entire system of fingering depends. We do not
by any means maintain that it is the only thing to be
considered ; but it is one, and one of the most important.
Again, the writer talks of " carrying the sense of key-
relationship in the mind." But that this can also be done
from the ordinary notation is virtually admitted in another
part of this very article in the Reporter, where the writer
says, "We do not know of any single music method which
is teaching half as many Englishmen to read the common
notation as our own." The remark about "seeing the
accents better " is no doubt correct, and was a point that
we had overlooked. As to the chords, we say that on the
piano there is no advantage in recognising them merely
as such, because the same chord will be fingered in dif-
ferent ways according to circumstances. And as to the
mere reading of the notes, a chord can be seen quite as
easily in the ordinary notation as in the Tonic Sol-fa.
With a remark that follows, as to their having " a long
fight '' before the method is generally adopted in schools,
we are quite inclined to agree.

We next come to what the Reporter calls the "pictorial"
illustration. Now, without meaning anything offensive,
we must say that it is simply absurd to carry the argu-
ment to a length to which no musician in his senses
would think of going. We still maintain that to a great
extent it is "pictorial" (to use the Reporter's expression);
though, of course, as music is written on a stave of only
five lines, certain modifications are necessary to make it
easier to read. And any pianist knows that the points
urged against us in this extract, the change from the bass
to the treble clef, and the marking passages with an
" 8va," so far from making the music harder, make it far
easier. The article says, moreover, " We confidently
affirm, however, that rapid passages of unusual difficulty
are never played at sight by learners." Now this has

September i, 1871.] THE MONTHLY MUSICAL RECORD.

115

really nothing whatever to do with the point in question.
We said nothing abo'ut " rapid" passages, nor " unusual
difficulty," nor " learners." What we spoke of was the
constantly occurring case in which a piece of music (not
necessarily a difficult piece) is to be played at sight —
whether by a professor or an amateur, a finished player
or a beginner, matters not. We said before, and we
repeat it emphatically in the very same words, that the
position of the notes on the stave is a great assistance to
the player. To say that learners never play very difficult
passages at sight is no answer whatever. Our reference
to Thalberg's " Home,'sweet Home " was (as our readers
will see) not in relation to this point at all, but as an illus-
tration of our chief objection to the notation for pianoforte
music — its cumbersomeness. This point the Reporter has
(we think prudently) left altogether untouched.

The first part of" the Reporter's article (which we have
deferred noticing, as it refers to the last part of ours)
quotes the last two paragraphs of our paper, which re-
ferred to the injudicious hostility of certain Sol-faists to
the ordinary notation. On this subject the following
remarks are made : —

" It is difficult to make musicians understand that when they hear
Tonic Sol-faists speaking against the common notation, they are
speaking against it as an instrument of instruction, and not as a
storehouse of music. We call it the "common" or the "esta-
blished" notation quite as frequently as the "old" notation. We
are continually training our pupils to master this notation. We do
not know of any single music method which is teaching half as
many Englishmen to read the common notation as our own. Our
singers are to be found in all the great choruses and choirs, and
they are recognised as the most reliable sight-singers in those
choruses. Novello's Musical Times, Hullah's Singer s Library, and
other such publications, are in frequent use in Tonic Sol-fa classes.
Our students have taken nine out of the last ten prizes in the
common theory of music, granted by Mr. Hullah in connection with
the Society of Arts. It is rather too bad that while we are thus
working in a kindly spirit, and with great success for musicians and
musical publishers, that we should be constantly treated by them as
enemies of the established notation. We know that there are
narrow prejudices in all professions ; but certainly the narrowest
prejudice, and the bitterest of all, is to be found among musicians.
We need not here enlarge upon our grounds for thinking that this
notation is too complicated to answer well as a means of teaching
musical truth, and that it compels the instructor to occupy a large
part of his early lessons in teaching notation instead of teaching
music. Every one who understands the art of education will see
this at once."

Now to this we reply, first, that the complaint made in
this extract that Sol-faists are constantly treated as
enemies of the established notation, entirely ignores the
qualifying clause " only of a certain section," which we
took particular care to insert; and, secondly, that our
impression was derived solely from Sol-faists themselves.
We have within the last few years come into contact with
many of them on various occasions, and we have no doubt
as to the correctness of the statement that there is, or at
all events was up to a very recent date, a certain section
who were strongly opposed to the ordinary system. If
that opposition exists no longer, so much the better.

But there is one passage in the above extract to which
we cannot forbear more particularly adverting. It is the
following : — " We know that there are narrow prejudices
in all professions ; but certainly the narrowest prejudice,
and the bitterest of all, is to be found among musicians."
We had been cherishing the fond illusion that our article
was tolerably free from prejudice. We had been assured
from several quarters that it was a very fair one ; nay,
more, a Sol-faist himself had written to us, thanking us
for it as being "kind and just;" and therefore, when we
read that gentle comment upon it, we were considerably
startled. We do most emphatically protest against it, as
utterly unwarrantable, and altogether uncalled for. So

far from being prejudiced, our only object, as we distinctly
said in our article, was to remove prejudice. We can
only account for the attack by supposing that our Sol-fa
friends cannot bear to have it hinted that their system is
not perfect ; and if we were disposed to retort, we might
say that that single sentence showed more bitterness than
the whole of our paper contained. To be favourable to
the system apparently pleases Sol-faists little better than
to oppose them. They may not inaptly be compared to
those cats of uncertain temper whom it is equally
dangerous to stroke the right way and the wrong. For
the future we shall certainly leave them to fight their own
battles !

*#* Since writing the above article we have seen the
Reporter for August 15th, containing a letter we wrote to
the paper on the subject of their article, and a note by the
Editor to the effect that the remarks about " bitter preju-
dice " had no reference to ourselves, but were suggested
by what we said on the subject. We most willingly
accept the disclaimer, as we feel sure such remarks were
not applicable, though from the connection in which they
occurred, we certainly supposed, as we think any one else
would do, that they were intended for us ; and are happy
to close the discussion at peace with those for whom,
however we may differ from them in opinion, we enter-
tain a sincere respect.

ON HARMONICS.

BY W. S. B. WOOLHOUSE, F.R.A.S., ETC.

It is well known, both by theory and experiment, that a
stretched musical cord or string may be caused to vibrate
in various ways. The ordinary and most simple species
of vibration is when at every instant it assumes the figure
of a regular harmonic curve without any change of flexure
throughout its length. These ordinary vibrations occupy
the whole length, and are those that produce the FUNDA-
MENTAL note of the string.

Another mode of vibration takes place when the string
divides itself into a number of equal parts, and each and
every two adjacent portions vibrate simultaneously and
independently in opposite directions, so as to keep the
nodal points, or points of division, stationary, by always
maintaining an equilibrium at those points. The tones
produced by vibrations of this description are HARMONICS.

When the string is vibrating wholly throughout its
length and producing its fundamental note, it is generally
at the same time subdivided into various portions, each of
which is vibrating independently in the manner described,
and producing an harmonic sound. The mathematical
theory of the motion of a stretched musical cord esta-
blishes the remarkable fact, that any number of vibrations
of different kinds that can be communicated and sustained
separately, may be communicated and sustained simul-
taneously. Hence we perceive the reason why the funda-
mental notes, especially those of large strings, such as
belong to the pianoforte, violoncello, and contra-basso,
are usually accompanied with harmonic sounds, which
are more or less sensible to the ear according to the
strength or weakness of the vibratory agitation of the
portions into which the string has divided itself. They
are most readily communicated by a sudden action on
the string near to one of its extremities, and, therefore,
always accompany the tones of the pianoforte, particularly
those of the lower strings.

The great variety in the different musical instruments
as to the specialities in the quality of tone and, in general,
the particular clang of a note, are due entirely to the
different modes of vibration ; and, in each case, the

THE MONTHLY MUSICAL RECORD.

[September I, 1871.

peculiarities of tone principally depend on the mixture of
harmonic sounds with which the fundamental note is so
closely allied. The accompanying harmonic sounds have
a powerful influence upon the quality of tone, and they
are usually found to ring in the ear immediately after the
fundamental note has subsided. The harmonic sounds
of a string may be modified considerably by a suitable
adaptation of the method of communicating the vibra-
tions. When the siring is struck by the action of a
hammer, or put in vibration by the application of a bow,
if the attack be made at a point which would form a
nodal point to any harmonic, that particular harmonic
will necessarily be excluded from the general clang of the
string. Harmonic sounds are most powerfully excited
when the string is acted upon near the end, and vice
versa. Pianoforte-makers in general have ultimately
found by experience that the most satisfactory tone is
produced when the point against which the hammer
strikes is from |th to ^th of the length of the string from
its extremity. By making the point at which a node might
be formed that on which the hammer falls, the possibility
of the corresponding harmonic sound coming into play is
absolutely excluded, and its detrimental influence thereby
most effectually prevented.

Harmonic sounds are distinguished from the ordinary
fundamental musical sounds by a peculiar character of
melodious softness, which may be accounted for by the
circumstance that the nodal points are free from the
rigidity that exists at the extremities of strings firmly
fixed. The positions of these nodal points, or nodes, or
extremities of the vibrating subdivisions, are simply
modified by the natural counteraction and equilibrium of
directly opposite tensions ; but the ends of strings, when
producing the ordinary or fundamental notes, are so
tenaciously and firmly fixed as not to admit of the slightest
degree of movement. Harmonic sounds are powerfully
heard in the ringing of bells, and are also produced on
wind instruments, such as trumpets, French horns, organ-
pipes, &c, by varying the force of the injected air ; and
011 the flute by different degrees of contraction in the lips
of the performer.

As all harmonic sounds produced by a string arise
from the vibrations of the various aliquot parts of the
total length, they are wholly comprised in the ratios
z, i, I, -5, &c. In general, when a string is lightly
touched at any point, and put in motion with the bow, it
will divide itself into the least possible number of equal
Pvrif'un Such manner that the point where it is touched
shall be one of the points of division ; but if the bow
should happen to fall on one of the other points where
the string would otherwise be disposed to divide itself
the effect would, of course, be neutralised by such inter-
ference, and the result would only be a confused and
unmusical sound. When the string is lightly touched at
the distances J, |, £, |, &c., of its total length, it will be
caused to vibrate harmonically according to 2, 3, 4, 5 &c
subdivisions, and the rates of vibration will be respectively
in proportion to these numbers. We shall here lay down
the exact intervals of all these harmonics in relation to
the fundamental note of the string. These intervals are
in every case calculated by the following rule :—

AR."h--^ Div'de, twel.ve times the logarithm of the number of sub-
divisions by the logarithm of the number 2 (.30103), and the quotient
will be the number of mean semitones in the interval of the har-
monic, reckoning, of course, twelve mean semitones to every octave.
In the following extensive table of harmonic intervals
they are carried up to the completion of seven octaves, or
129 divisions, as such table will be extremely useful for
many purposes. It will serve to determine at once every
other interval when the ratio is known, and it will be of

great assistance hereafter in the discussion of the roots of
harmonic combinations in their relation to the theory of
music.

TABLE OF HARMONIC INTERVALS.

°l

Interval.

y of C.

c c

Interval.

Key of C.

Octave

1 Mean
Semitones.

Note

Variation.

~ 1 Mean
Octave. Semi „

Note. Variation.

4. 3

7-02

+ '02

0.27

3'86

-'14

0.79

9-69

1.30

III

2.04

+ '04

. 71

1.80

5'5i

2.28

8 40

2.75

15*

io-88

— '12

3.20

17*

1 "°5

+ -05

3-64

19*

„

2 '97

Dff

-'°3

81*

4.08

4'7i

„

4-5°

•)

628

85*

„

4.91

-.09

7'73

5-3i

27*

906

+ •06

5-71

10-30

91*

„

6.09

"'45

6.47

°'53

„

6.84

1 '55

„

7.20

251

„

7-55

))

3'42

101*

„

7.90

)■

4-59

103

8.24

43*

5'n

i°5

8-57

45*

5 '9°

FJt

— -IO

107*

8.90

6 '65

109

9.22

7-38

. 9-53

5i*

8 07

G»

+ '07

113

„

9.84

)]

8'73

„

10.15

9-38

117

10.44

57*

9 '99

Atf

— "01

119

10.74

i°'59

121*

11.03

n'17

123

„

11. 31

11-73

125
127

"■59
11.86

129 VII

0.13

TRUE DIATONIC INTERVALS.

Minor 3rd

3.16 mean semitones.

Major 3rd

3-86 „

Fifth

7.02 „ „

Minor 6lh

8.14 „

Major 6th

8.84 „

In the column of the table containing the " Number of
Subdivisions" all even numbers are omitted, because
these can always be taken out as easily from a suitable
odd number, by merely doubling and placing the interval
an octave higher. The numbers distinguished by an
asterisk (*) are the only harmonics that can be considered
as sufficiently near the chromatic scale to obtain a musical
interpretation. It is somewhat curious to observe that
they are nearly all of them combinations of the numbers
3, 5, 17, 19. We shall find that the numbers 17 and 19
play an important part in the more complicated pro-
gressions of musical harmony.

THE CURATE AND THE ORGANIST.

[The following correspondence, which we reprint from
the Liverpool Daily Courier of the 14th ult., is, we think,
of more than merely local interest, as bearing on the
relations between clergy and organists. We therefore
make room for it in our columns. We prefer to express
no opinion on the matter ; but think it will not be
difficult for our readers to form their own conclusions. —
Ed. M. M. R.]
"THE REV. BROOKE LAMBERT AND MR. J. J. MONK.

"TO THE EDITOR OF THE ' DAILY COURIER.'

"Sir, — The organist of St. Ann's Church, Rainhill, Mr. j. J.
Monk, having been abruptly ' ' dismissed " from his office by the
new curate in charge, the Rev. Brooke Lambert, and the circum-

September I, 1871.]

THE MONTHLY MUSICAL RECORD.

117

stance having given rise to a good deal of ill-feeling in the parish,
and as I believe there is some misapprehension abroad as to the
facts of the case, I send you, with Mr. Monk's permission, copies of
the several letters which have passed between the two gentlemen
since Mr. Lambert's advent to Rainhill, and I shall feel much
obliged by their publication in your next issue.

"The taste displayed by Mr. Monk in the selection and playing
of the music used in the church may have been, as Mr. Lambert's
letters suggest, more artistic than ecclesiastical ; and probably Mr.
Monk would have done wisely if he had arranged with Mr. Lambert
as to a substitute during his absence, before leaving for his holidays.
Something might be said on both sides on each of these points,
neither of which I care to discuss. But be these things as they may,
when it is remembered that Mr. Lambert has been in the parish
only six weeks, and that when his first letter to Mr. Monk was
written he had officiated in the church on but one Sunday, the
course which he has taken will appear scarcely a justifiable one.

' ' With regard to the good taste, good feeling, dignity, and courtesy
exhibited in Mr. Lambert's letters, I leave the letters to tell their
own tale, and your readers to form their own opinions. — Yours, &c. ,

"Rainhill, ^th August, 1871." " Zambra.

"Rainhill, Prcscot, 2,0th June, 1871.
"Mr. Monk, — I have chosen the following hymns for Sunday

next I think that the music should be arranged not so much

for the teaching of the choir as for the purpose of obtaining general
congregational singing. It will therefore be better to sing the
Canticles to musical services only on the last Sunday in the month.
On other Sundays you will be good enough to play only single or
double chants, choosing those best known to the congregation. If
any special occasion should arise, you can confer with me, and I
will endeavour to meet the wishes of yourself and the choir. I shall
be obliged if you will discontinue the practice of playing immediately
after (? before) the sermon text is given out.

" Brooke Lambert."

"Rainhill, Prcscot, yd July, 1871.
" Mr. Monk, — If you are to continue to discharge the duties of
organist, the service must be conducted very differently to that of
yesterday. The innumerable variations you played to every chant
and hymn tune not only embarrassed your choir, who were once or
twice quite thrown out, but rendered it impossible for the less
musical part of the congregation to join in the singing. In future
the chants and hymn tunes must be played as they were played at
the practice on Friday, and without variations. The Kyries in the
Communion service were not played as at the practice, but were
interspersed with variations which might be fitting in a concert-
room, but were exceedingly indecent in a church. The Kyries must
in future be played simply. The organ is to lead the singing in
church, and is not to be used to illustrate the fancies of the organist.
The voluntaries played after the morning and evening services whilst
the congregation were leaving their seats were totally unfitted for
use on such occasions, and were calculated to disturb the devotional
feelings of the congregation. The voluntaries must for the future
be selected from the sacred oratorios, or such like music. As I
regret to find that I cannot rely on your taste in such matters, I
must ask you to be good enough to give me the names of the
voluntaries you propose to play before and after the services on
the Friday week before you play them, i.e., when I give you the
hymns for the same day. I asked you on Friday last to discon-
tinue a flourish which was played just before the sermon. On
Sunday I noticed that after the Amen in the Benediction, both at
morning and evening service, you introduced a flourish lasting some
half-minute or more. This must also be discontinued ; it disturbs
the devotions of the people at a time given to private prayer. It is
also quite unusual. In future, you will play all the Amens as
nineteen out of twenty organists play them, i.e., without any flourish
whatsoever. Indeed, in asking you to make these alterations, I am
setting up no standard of taste of my own, but am simply asking
you to do what is done in other churches, and to discontinue what
would be rejected as irreverent elsewhere. You will be good enough
to let me have in writing as soon as possible your promise to
conduct the service in the way I have presented.

"Brooke Lambert."

"Mr. Monk presents his compliments to the Rev. Brooke Lam-
bert, and begs to inform him [that] he is in receipt of his communi-
cation. As Mr. Monk will be away from Liverpool [for] the next
four Sundays (during which time his friend Mr. Clarke will officiate
at the organ), he thinks an interview on his return with the Rev.
Brooke Lambert might be more satisfactory than a/, present.

"Liverpool, $th July, 1871."

"Rainhill,, Pvescot, 6th July, 1871.
"Mr. Monk, — You must be aware that you have no right to
absent yourself from your post without leave duly asked and
obtained. If you have obtained such leave from Mr. Clay, please
inform me of it. I cannot accept your friend as a substitute with-
out proof that he is a qualified organist. Unless you satisfy me on
these two heads, you will absent yourself at your own risk. Your
letter is very unsatisfactory. In answer to my request for a written
promise that you would conduct the service as I wished, you pro-
pose an interview at your own convenience, a month hence. You
will consider your engagement as organist of Rainhill to be at an
end in three months from this date. " Brooke Lambert."

' ' Mr. Monk presents his compliments to the Rev. Brooke
Lambert, and begs to acknowledge the receipt of his communica-
tion dated the 6th inst. During the years Mr. Monk has officiated
as organist and choirmaster at different churches, he has never
asked for leave to go away, it always being an understood thing
that as long as an efficient substitute is provided the organist is at
liberty to absent himself. Mr. Monk, of course, expected to find
the same gentlemanly feeling at Rainhill as elsewhere. As to the
second head, Mr. M. need only refer the Rev. B. Lambert to the
members of the choir and the congregation as to Mr. Clarke's
fitness, feeling assured that if the Rev. Brooke Lambert is not able
to judge [for] himself, he will find everybody able to speak in high
terms of Air. Clarke's playing, &c.

" Matlock Bath, nth July, 1871."

"Rainhill, Prcscot, nth July, 1871.
"Mr. Monk, — You have not thought fit to take any notice of my
letter of the 6th instant, and have absented yourself without leave
from your duties as organist. I have to inform you that you are no
longer organist of St. Ann's, Rainhill, and enclose a formal notice to
that effect. " Brooke Lambert."

"To Mr. James J. Monk, organist of St. Ann, Rainhill.— You
having misconducted yourself by absenting yourself without reason-
able cause, and without proper authority, from your duties as
organist of the said church, on Sunday, the ninth day of July,
1 87 1, I hereby give you notice to terminate your engagement as
organist, at and from the date of this notice.
" Dated this eleventh day of July, 1871.

" W. L. Clay, Vicar of the said Church,

by Brooke Lambert, acting as agent for and on

behalf of the said W. L. Clay."

' ' I have left a note, of which the above is a copy, at your house,
102, Chatham Street ; but as I think you may like to make
arrangements for the future, I lose no time in forwarding you a
copy." — — —

"Mr. Monk presents his compliments to the Rev. B. Lambert,
and begs to acknowledge his communication of yesterday containing
[notice of] his dismissal as organist and choirmaster of St. Ann's
Church, Rainhill, for misconduct. Mr. Monk is not aware of any
misconduct on his part, and has not absented himself without
reasonable cause. Mr. M. therefore disputes the dismissal, and
begs to inform the Rev. Brooke Lambert that Mr. Clarke will con-
tinue to officiate for him till he returns to town. If the Rev. B. L.
has still any doubt as to Mr. Clarke's fitness and ability, Mr. Monk
begs to refer him to the Rev. F. W. Willis, late curate in charge
of St. Ann's.

" Bonsall, Derbyshire, 12th July, 1871."

"Rainhill, Prescot, 14th July, 1871.
' ' Mr. Monk, —I have to acknowledge letters from you dated the
nth and 12th. With regard to the second letter, you will find, if
you look carefully at the notice, the word "misconducted" inter-
preted by " absenting yourself without reasonable cause, and with-
out proper authority." The counts are not two, but one. I trust
you will not have to put to a legal test the question whether my
interpretation of "reasonable cause" or yours be the right one.
Whatever may be the custom as to leave-taking, I am sure that it is
the universal 'practice for all engaged in common work, whether as
equals or subordinates, to ask as a matter of courtesy whether their
absence at such a date will be inconvenient. Not only did you not
do this, but to my remonstrance you paid no notice for so long
a time that I had meanwhile sent you a formal notice of dismissal.
I do not wish to press matters too harshly, and I will withdraw
the notice of dismissal and revert to the three months' notice,
if you will send me the promise for which I asked in my letter of the
3rd, to which no proper answer has yet been returned. If I do not

THE MONTHLY MUSICAL RECORD.

[September I, 1871.

receive this by the morning of Wednesday in next week, I shall
proceed to advertise the appointment as vacant. I had written to
Mr. Clarke to inform him that I could no longer recognise him as
your substitute, and he has most kindly promised to play as a
volunteer on Sunday next.* This settles the matter for the present ;
but I must remind you that legally the freehold of the church is
vested in the vicar, and, in his absence, I only, as curate in sole
charge, have a right to give access to the organ.

" Bkooke Lambert."

"Mr. Monk presents his compliments to the Rev. Brooke Lam-
bert, and begs to acknowledge his communication dated the 14th
instant. If Mr. Monk had been aware that the Rev. Brooke
Lambert had wished to be consulted as to his absenting himself, he,
of course, would have consulted him ; but he simply did what he
has always done before, even at Rainhill ; and the Rev. B. Lambert
seems to be unaware that, as a professional man, Mr. Monk can
only go away in his vacations ; also that, like other people, he
requires change of air to help him to go through half a year's work.
Mr. Monk had domestic affairs to keep him at home altogether,
but having been unwell, he was forced even to put those aside, and
take some relaxation to fit him for his duties when he resumes his
practice. If this is not a ' reasonable cause,' Mr. Monk is at a loss
to know what would be. As to the proper authority, Mr. M. has
explained that it was purely a mistake between the Rev. Brooke
Lambert and himself. Mr. Monk has offered to have an interview
when he returns about some matters he mentioned in a former
communication (what they are exactly Mr. M. has no recollection).
He cannot do more than this at the present moment. In the mean-
time, as the Rev. Brooke Lambert knows, not the slightest harm is
done to his notions, whatever they are. Mr. Monk considers a
personal interview much more satisfactory in any misunderstanding
than written communications.

" Mr. Monk intends returning, if possible, a week earlier than he
had made arrangements for, and in any case the Rev. Brooke
Lambert will not have to wait long.

" Matlock Bath, 16th July, 1871."

" Rainhill, Prescot, 18IA July, 1871.
"Mr. Monk, — I think it is a pity that you have not chosen the less
abrupt manner of terminating your work here, which I suggested.
However, as you do not think fit to accept my terms, I must abide
by the decision conveyed to you in my letter of the nth. I have
taken steps to insert advertisements for an organist in the papers,
which will appear on Thursday. You can only dispute my decision
by legal proceedings. You will be allowed to enter the church to
remove any music or other property which may belong to you per-
sonally, but you will not be allowed to officiate either at the practice
or at any service. "Brooke Lambert."

" * From otherlcorrespondence i: would appear that Mr. Lambert had not
correctly interpreted Mr. C.'s reply on the subject.— Z."

jfom'sn Carospmrtmue.

MUSIC IN NORTH GERMANY.

(FROM OUR SPECIAL CORRESPONDENT.)

Leipzig, August, 1871.
Long have I delayed the dispatch of my letter, and only
with a deeply sad heart I send you to-day the mournful
intelligence of the demise of Carl Tausig. Not quite
thirty years of age, the highly-esteemed artist died of
typhus, on the 17th of July, at the Jacob Hospital in
Leipzig. I cannot help giving expression in our paper to
the sorrow I feel at the death of Tausig ; that the English
public, which, as far as I know, has never had an oppor-
tunity of judging of his enormous talent and immense
power of execution by hearing him, may at least, from
the memoir which we dedicate to him, and which the
feeling of the greatness of the artistic loss we have
suffered dictates, obtain an idea of the importance of the
unfortunately too early deceased.

Tausig was the most accomplished pianist. In posses-
sion of a technical execution which nobody besides him
and Franz Liszt ever reached, he had the real artistic
consciousness of only employing his fingers in the service

of art in its noblest bearing. Free from all the eccen-
tricities of pianists, free from all desire to shine in exe-
cuting a work at the expense of the composition, Tausig
was, on the contrary, the most objective interpreter of the
works he performed. He possessed the true understanding
of the master-works of every epoch, and could appreciate
Scarlatti, Handel, Bach, Beethoven, Weber, Schumann,
Mendelssohn, Chopin, &c, each according to his peculiar
individuality, and render them accordingly. The pure
earnestness of a truly artistic nature prevented his ever
introducing any shallow, valueless compositions in his
repertoire. He only offered good works, and rendered
them in the most perfect manner.

How sad is it that an artist, unique in his way, should
be called away after so short a time of working ! How
few, comparatively, had the good fortune to hear him, to
enjoy his artistic performances ! Yes, doubly hard this
loss strikes us ; for Tausig, so unequalled in his lifetime,
is now lost altogether to us. Other masters leave to us,
when they lay aside their earthly covering, an imperish-
able inheritance in the productions of their mind. Their
soul remains with us ; in their works we keep their best
part, we live with them, they influence us just as if they
were still amongst us. But " Dem Minnen flicht die
Nachwelt keine Kranze," * the performer's art and power
is lost with him, and the tradition of his art is lost after a
few generations without leaving any trace. We know
what Tausig was to us, and shall always keep a never-
dying remembrance of his truly idyllic rendering of
Beethoven's and other master-works, but already the
next generation will only be able to appreciate him from
tales of their elders.

Tausig's life offers the picture of constant endeavours
and aspirations after perfection. The only son of the
well-known pianist and music-teacher at Warsaw, he was
already in his fourteenth year a perfect pianist. Shyly
retiring from the enthusiastic praise and well-deserved
acknowledgment which were offered to him from all sides,
Tausig studied with the greatest perseverance and con-
stancy not only the musical masterpieces of all epochs,
but occupied himself in the most earnest and diligent
manner with mathematical, acoustical, and philosophical
works. In many different fields of science he followed up
with the greatest diligence and most severe perseverance
every new appearance. Of his understanding, the results
of the studies, consisting of a great number of extracts from
scientific works of the present time, give a telling and
brilliant proof. Perhaps the works he has left behind
may bring other fruits of his mind to light ; and also for
music leave us some lasting memorial of him.

As a man Tausig has often been judged wrongly.
Many took him to be cold and repulsive in intercourse,
because he was quiet and often abstracted, and went out
of the way of stormy, enthusiastic praise, which to him,
with his simple manners, was often troublesome. Also
the temporary separation from his wife gave opportunity
to unpleasant, at times spiteful, comments. As is well
known, " Liebt die Welt das Glanzende zu schwiirzen und
das Erhab'ne in den Staub zu ziehen."t The true, never-
shaking attachment of his friends offers the best proof of
his honourable and good character, to which every lie
and dissimulation was unknown. So we too, silently
and mourning, place the wreath of immortelles on his
tomb, and offer a last bitter farewell with tearful eyes.

The long musical pause of the summer season is coming
by degrees near to its end. Signs of soon-returning
activity seem to show themselves. After a number of

* "Posterity weaves no garland for the minstrel."

t "The world loves to blacken the brilliant, and drag the lofty in the dust."

September i, i87i.] . THE MONTHLY MUSICAL RECORD.

119

performances without importance by guests, the Opera
delighted us in the first days of this month with an
excellent performance of Fidelio. This is to be followed
with worthy performances of the whole of Mozart's operas
in chronological order, as they have been composed.
These performances commenced on the 17th of this
month, and are to continue up till September in quick
succession. Idomeneo will be the first. The new edition
of the whole of Mozart's operas in score, published
recently by Breitkopf and Hartel, has been the first cause
of these performances.

For the excellence of our Opera company nothing could
speak better than that in the whole of Mozart's operas
every character will be represented by members of the
company.

The Conservatoire opened its classes on the 9th of
August. Teachers and pupils begin by degrees to take
up their work. The Concert Room will be closed still till
the end of September.

Messrs. Schott's Sonne, in Mayence, advertise as soon
coming out, Siegfried, by Richard Wagner. This opera
will form the second part of the Trilogie, Der Ring der
Nibelungen. We anxiously await the appearance of this
work, which, we have no doubt, will be followed by
numerous performances at the most important opera-
houses in Germany.

MUSIC IN VIENNA.
(from our special correspondent.)

Vienna, 15M August, 1871.
THE past month of July has been very dull for all lovers
of theatres, especially for the many travellers who were
on a visit to the old Kaiserstadt. The two Hoftheater
have been closed — no opera, no drama ; and even the
small theatre in the Josefstadt stands still. The closing
of both the Hoftheater at the same time is a calamity,
and a great loss too, not only to the theatres themselves,
but also for the town, as their representations attract
foreigners, and induce them to prolong their stay in town.
I told you last that the two largest theatres in the suburbs
were occupied by foreign troupes. The one, the French
company under the direction of M. Meynadier, in the
Carltheater, finished its representations on the 25th of
July. The already-mentioned operettas, La Princesse de
Trebizonde, La Vie Parisienne, Le Canard a. trois Bees,
were followed by La Chanson de Fortunio, Lc Compositeur
Touque (libretto and music by Hervd), and some little
vaudevilles. The company has left Vienna for Graz.
From a commercial point of view, the Italian company
under the direction of Franchctti, in the Theater an der
Wien, has been more fortunate. The house has been full
on every evening — so much, that the direction has signed
a new engagement for February next year. Franchetti
is also said to settle in Vienna, to found an Italian opera
school. Having represented Otello and // Trovatore, the
third opera was Crispiuo e la Comare, by the brothers
Ricci. The same opera was performed some years ago
in the Hoftheater, by Mdlle. Art6t, Benza and Sige, Cal-
zolari and Everardi, and found but a cold reception ; the
more so as there was only one member, Signora Benatti
(Comare), who distinguished herself as a talented, well-
gifted singer. Another opera, lone (dramma lirica in
quattro atti di Giovanni Peruzzini, musica di Enrico
Petrella), was performed for the first time in Vienna. It
would have been better if this miserable composition
never had reached the waterless shores of the " Wien."
The libretto is painfully founded on Bulwer's " Last Days
of Pompeii." The music is weak and tiresome in the

extreme. Among the representatives, Signor Patierno,
with his weighty tenor voice, was the only one worth
mentioning. The opera was repeated next evening, and
then, on the 5th of August, the company took leave with
a well-chosen pasticcio.

On the 1st of August the Hof-Operntheater began its re-
presentations with Lohengrin, H err Adams in the title-role.
We count since the operas Schwarze Domino, L'Africaine,
Zauberflote, Rienzi, Romeo und Julie, Profet, Faust, Tell,
Fra Diavolo. Two gastspiele, Anna Bosse, from Leipzig,
as Selica, and Leonore Pauli, from Dessau, as Astrafiam-
mante, were of little interest, if any. Mdlle. Bosse, for-
merly for a short time member of our stage, has still a
fine voice, but wants dramatic passion ; Mdlle. Pauli failed
in every respect. Rienzi was performed, this time, with
Herr Adams, who showed again the conscious artist, with-
out making a deep impression. The Opera is still wanting
some of its first members, such as Frau Wilt, Mdlle. Ehnn,
and Von Rabatinsky ; Herren Schmid and Labat being
on their stipulated leave of absence. For the next days
we shall have the very interesting gastspiel of Herr Betz,
from Berlin, who will perform the roles of Telramund, Don
Juan, Wolfram, Fliegende Hollander, and Hans Sachs in
Wagner's Meistersinger. This opera, not having been
performed for a long time, will be the more a treat for the
friends of the master of Luzern. The next care of the
direction is the ballet Fantasca, by Taglioni, which will
be represented in full brilliance and splendour on the 18th,
being the birthday of the Emperor. London gives its
share to it by sending the necessary mechanical ass, as
an important part in the argument of the ballet.

The Conservatoire of the Gesellschaft der Musikfreunde
has now vacation up to the 5th of October. At the end
of the scholastic year there have been the usual Classen-
Pnifungen and public Preisconcurse, showing the talents
of the best pupils. Prizes, certificates, and silver medals
were distributed, and the yearly statement published. We
learn by it that 35 professors are engaged at the Con-
servatoire, and that the institute was visited this year by
445 pupils (225 female and 220 male), of whom 163 are
free, and 27 pay half-fees. In the course of the year there
were 36 orchestra, 35 chamber-music, and 36 choir prac-
tices, two dramatic representations, and 15 evening
concert performances. Three of the absolved pupils,
having left the school, were directly placed in the musical
world as Mdlle. Carolina Schmerhofsky, at the Opera in
Venice (she began her career with great effect), Mdlle.
Catherina Prohaska, for the Opera in Hanover, and Josef
Maxintsak, as violinist in the orchestra of our Opera-
house in Vienna. A most important event was the grant
of a yearly subsidy of 10,000 florins by the Government,
proposed by the Reichsrath, and sanctioned by the
Emperor. How time has changed ! remembering the
time of the opening of the same school, on the 1st of
August in the year 1 817, in a hired room, with 24 pupils,
with one singing-class, one professor and his substitute ;
when the least expense was carefully calculated, and
every kreuzer thankfully accepted as an alms to that art
of which every " wahre Oesterreicher" was yet proudly
declaring that no other land could give it a better home !

3LUi)ftU)&

Sei/i Schatten {L Ombre), Komische Oper hi Drei Akten. Musik
von Fr. von Flotovv. Klavierauszug. ("L'Ombre," Comic
Opera in Three Acts. Music by Fr. von Flotow. Piano-
forte Score.) Berlin and Posen : Bote and Bock.

This, the latest opera, we believe, from the pen of the composer of
Martha, was announced for production in this country at Her

120

THE MONTHLY MUSICAL RECORD. [September i, 1 871.

Majesty's Opera during the past season, but not given ; owing pro-
bably to the indisposition of Mdlle. Marimon, who was to have
sustained the principal soprano part. It has the peculiarity of being
written entirely for four solo voices, without any chorus part. The
libretto is very flimsy ; the characters are without any marked indi-
viduality. The bass, Dr. Mirouet, who seems at first a spiteful
scandal-monger, turns out in the end only a harmless, good-natured
old gentleman. The other personages arc equally insipid ; nor is it
possible to take a very lively interest in the plot. With respect to
the music, the best that can be said for it is that it is well con-
structed, always pleasing and melodious, and abounding in strongly
marked rhythm. Higher praise than this we are unable to award
it. There is scarcely a bar from the beginning to the end that is
absolutely new; and, though free from actual reminiscences, the
general impression left by the music is that one has heard all that
kind of thing before. In performance, with good singing and
spirited acting, the opera would probably please ; but we doubt
whether it would have a long run, or add much to its author's repu-
tation. Among the best numbers may be specified the bright and
lively overture, the pretty trio (No. 2), the quartett (No. 5), with a
florid solo for the first soprano with an instrumental accompani-
ment, which we should guess to be for a flute, and a very spirited
final movement. The finale to the first act also contains some good
dramatic writing. The second act is, we consider, the weakest of
the three. The best pieces in it are the pretty and ear-catching,
though very trivial, air for soprano (No. 7), and a pleasing quartett
(No. 9). The third act contains, among other things, a pretty
nocturne for two trebles (No. 13) ; a good, but by no means very
original, song for bass (No. 14); and a terzetto (No. 17), which is
one of the best portions of the opera. On the whole we consider
this work a fair specimen of the light modern French style of
writing — pleasing and often piquant, but without any solidity, and
of very little real musical value. Of the orchestration, having
merely a pianoforte score before us, we are of course unable to
speak.

Requiem, fir Soli, Chor, und Orchester, von Friedrich Kiel.
Op. 20. Full Score. Leipzig : C. F. Peters.

Stabat Mater, fur Frauenchor und Solo, mil Orchester, von Fried-
rich Kiel. Op. 25. (Stabat Mater, for Female Chorus and
Solo, with Orchestra, by Friedrich Kiel. Op. 25.) Full
Score. Leipzig : C. F. Peters.

Te Deum, fur Solo, Chor, und Orchester, von Friedrich Kiel.
Op. 46. Full Score. Berlin : Simrock.

These works, from the pen of one of the prominent living German
composers, whose works are almost, if not entirely, unknown in this
country, evidently entitle their writer to an honourable place among
modern musicians. Herr Kiel's church music, though not distin-
guished by any remarkable affluence of melody, is always well and
thoughtfully written ; his ideas, if not always particularly striking,
are invariably dignified and free from triviality. One very pro-
mising sign about these works is that the " Te Deum," which
from the Opus number we judge to be the latest, is also to our
thinking decidedly the best of the three. Next to writing a really
good oratorio, there are perhaps few more difficult tasks than to
write a good "Requiem." Without attaining either to the poetry
of Mozart's setting, or the ecclesiastical dignity and solemnity of
Cherubini's — the two works which we consider the models of
funeral music — Herr Kiel has produced a work which is worthy
the attention of all musicians who wish to know what is being
done abroad in the higher class of composition. The opening
chorus, the " Kyrie " (in eight parts), the " Sanctus," and the finale
are in our opinion the most successful portions of this " Requiem ; "
but the entire work is marked by distinct individuality of style, good
contrapuntal writing, and effective (and never overdone) instru-
mentation. The " Stabat Mater '' is (like most long compositions
written entirely for female voices) open somewhat to the charge of
monotony of colouring ; but the same general characteristics noticed
in the " Requiem " are also to be found here. The " Te Deum," as
already mentioned, is, we think, superior to either of the other
works. Not only is the individuality of style more pronounced, but
the subjects themselves are more interesting. It opens with a broad
and massive chorus in D, common time. To this succeeds a very
effective quartett and chorus, " Te Gloriosus '' in 0,3-4 time. With-
out specifying each movement of the work, we may mention the short
duet, " Te ergo quassumus," the chorus " Per singulos dies," with a
long and very original prelude for wind instruments, and the con-
cluding fugue on two subjects, " In te, Domine, speravi," as being
excellent. In conclusion, let us add that Herr Kiel is entirely free
from the besetting sin of modern German composers — extreme
length. He appears to know when he has said enough, and never
spoils his music by undue prolongation. Some of his chamber

music — piano trios, &c. — which has been submitted to us for re-
view, we shall notice in a future nurnber.

Symphonies de L. van Beethoven. Partition de Piano, par F. Liszt.
2 vols. Leipzig : Breitkopf & Hartel.

It would be an interesting and not altogether unprofitable work, to
compare the different arrangements or transcriptions of Beethoven's
symphonies which have been published for the piano. Among the
various musicians whose arrangements have attained more or less
of popularity may be mentioned Hummel, Czerny, Kalkbrenner,
Markull, and Winkler. It was only to be expected that when so
distinguished a pianist as Liszt took them in hand, he should pro-
duce something quite sui generis, and altogether distinct from the
versions that had preceded his. And such is actually the case.
Liszt is greater as a transcriber of other men's works than as an
original composer ; and the way in which he has reproduced these
master-works on the piano is something marvellous. It need scarcely
be said that the arrangements are intended for advanced players ;
still, though none but expert pianists can essay them with any hope
of success, there are no insuperable difficulties to be met with, and
nowhere, even in the fullest passages, are effects attempted which
are out of the reach of the piano. The transcriptions of the " Eroica''
and c minor symphonies may be especially mentioned as remarkable
for fulness and richness.

Another particularly noteworthy feature of these arrangements is
their fidelity to the original score. Those who expect to find here
any of Liszt's brilliant, and at times eccentric, embellishments of
the text will be disappointed. In the instances occasionally to be
met with where the orchestral figure has been modified to suit the
piano, the original form of the passage is given above in small notes ;
and a similar plan has been adopted in those cases where it was im-
possible to compress the whole score within the grasp of two
hands— the omitted portions being printed above the text. The
instrumentation is also carefully noted throughout ; and to those
who have not the full scores, or who having them are unaccustomed
to score-playing, this edition of the symphonies will be found in-
valuable. It should be added that though, as we have said above,
they are by no means easy, they are still far less difficult than some
of Liszt's larger fantasias. We have no hesitation in pronouncing
them decidedly the best arrangements of these grand works as yet
published.

Requiem far die Gefallcnen Krieger, fur vierstimmigeu Manner-
chor, mit Begleitung von 4 Hornern, Contrabass, vnd Partken ,
von Carl Reinecke. Op. 103. No. 2. (Requiem for the
Fallen Warriors, for four-part Male Chorus, with accompani-
ment of four horns, double-bass, and drums, by Carl
Reinecke. Op. 103. No. 2.) Leipzig: F. Kistner.

Whatever Herr Reinecke writes is characterised by musicianly skill
and artistic feeling. This little work is nothing more than a some-
what lengthy part-song for male voices. The accompaniments are
chiefly in unison. The combination of instruments employed is
novel, and very effective in giving a sombre colouring to the whole.
The piece is marked " Im Zeitmaass eines Trauermarsches " (in
the time of a funeral march), the march rhythm being principally
maintained by the pizzicato of the double-bass, and the drums.
The middle portion of the work contains some very effective modu-
lations, and the enharmonic changes which bring back the principal
subject are skilfully managed. Very interesting, too, is the art with
which, by the judicious use of such limited resources, the composer
has managed to avoid monotony of tone-colour. In this respect the
small score is quite a study. Owing partly to the nature of its sub-
ject, and partly to the scarcity of male-voice choirs in this country,
we cannot predict for this little work any extensive popularity here,
but we have thought it worthy of notice in these columns on account
of its intrinsic merits.

iStcs {E moll) Concert fur die Violin e, zum Conccrtvortrag mit
Bogcnstrichen, Vortragszeichcn, Cadenzen, und Pianofortebe-
gleitnngvcrsehenvonY. Hermann, componirlvon R.Kreutzer.
(18th Concerto, in E minor, for the Violin, composed by
R. Kreutzer, arranged for concert performance, with marks
of bowing and expression, cadenzas, and pianoforte accompani-
ment, by F. Hermann.) Offenbach : J. Andre.
Rudolph Kreutzer is a composer who is now chiefly known by
his studies for the violin, which rank among the best that have been
written for that instrument. Besides his numerous concertos, &c, he
was the composer of several operas, the overture to one of which,
" Lodoiska," was formerly very popular, and is frequently to be met
with in old music-books. Its principal subject has been trans-

September i, ,871.] THE MONTHLY MUSICAL RECORD.

121

planted into the " Lancers " quadrille, though probably few of the
thousands who are familiar with the air are aware of the source
from which it is taken. The composer's name has also been immor-
talised by the dedication to him of one of Beethoven's finest sonatas
for piano and violin — the so-called " Kreutzer-sonata." The con-
certo now before us is admirably written for the principal instrument,
and in the hands of a good player would be very effective. It dis-
plays more talent than genius, but as a show-piece it is excellently
adapted for its purpose. Of its effect in the orchestra it is impos-
sible to judge from a mere pianoforte adaptation. The marks of
fingering, &c, added by the editor will be found of great assistance
to the player. The cadenzas, too, are well written, and in good
keeping with the spirit of the composition. Violinists in search of
a novelty will find the piece worthy of their attention.

Mass in G (No. 2), composed by Franz Schubert. In Vocal
Score, the Pianoforte accompaniment arranged from the Full
Score by Ebenezer Prout. London : Augener & Co.

We so recently noticed the appearance of the first of this interesting
series of masses, that it is needless to repeat the opinion then
expressed as to the editing and arranging. Suffice it to say that
this edition of Schubert's second mass is distinguished by the same
features which were commented on in our review of the mass in F.
An especial interest attaches to this work as being the one which
Robert Fiihrer, of Prague, had the audacity to publish as his own.
The principal features of the instrumentation (which appears to be
chiefly for stringed instruments) are indicated in the accompaniment.

Parted from thy native bough. Canzonet. Words by AMELIA B.

Edwards ; Music by Francesco Berger.
Cleansing Fires. Song. Words by Adelaide Anne Proctor ;

Music by Francesco Berger.
To an Absentee. Song. Poetry by Thomas Hood ; Music by

Francesco Berger.
Fallen Leaves. Contralto Song. Poetry by Owen Meredith ;

Music by Francesco Berger. London : Cramer & Co.

We have here four songs, which it is pleasant to be able heartily
to recommend. They are all thoroughly well written, the melodies
are tuneful and flowing, and the accompaniment musicianly. Being,
moreover, easy both to sing and to play, they are likely, we think,
if known to be very popular. Our own favourite is decidedly the
canzonet " Parted from thy native bough," about which there is a
flavour of originality and a piquancy not often to be met with in
pieces of this calibre. The song "To an Absentee " is also excel-
lent— abounding in warmth and spirit. "Cleansing Fires" is chiefly
noticeable for the very effective change from the minor to the major
in the middle of each verse. The contralto song ' ' Fallen Leaves "
is less to our taste than the other songs, though by no means de-
ficient in distinctly marked character. There is a sequence of chords
at the end of the first page, repeated at the close of the song, which
has to our mind a particularly harsh effect. In the key of E flat, the
chord of A flat is succeeded by that of G major — the dominant of
C minor — which is immediately followed by the chord of E flat.
We are of course aware that the progression is sometimes admis-
sible, but we certainly do not like its effect in this place. We think
it right to mention this blemish (as we consider it), because it is the
only one to be met with in any of these songs, on which we have
dwelt in some detail, as they are far superior to the average of such
compositions.

Handel's Songs. Arranged for the Organ from the Full Scores, by

J. H. Deane. 2 Nos. London : Brewer & Co.
Gems from Handel's Italia?!, Operas. Transcribed from the Full

Scores for the Piano, by J. H. Deane. No. i. London :

Brewer & Co.
Gentle Airs, melodious Strains. Air from Handel's Athalia,

arranged for the organ by J. H. Deane. London : Lamborn

Cock & Co.
The two numbers of the songs arranged for the organ are the air
"Lord, remember David " (which, as many of our readers will be
aware, is an adaptation of a song from the opera of Sosarnte), and
" O Lord, whom we adore " from Athalia. The arrangements
show a thorough practical knowledge of the organ, and, as they are
by no means difficult, and with a little judicious management are
playable on small instruments, they will be found very useful as
opening voluntaries. The same remark applies also to the song
"Gentle Airs," in which the melody in the tenor with the violoncello
obligato lends itself particularly well to an adaptation of this kind.
The opera song ("Mi lusinga il dolce affetto," from Alcina),
which is almost unknown, is a flowing melody, the opening of which

has a striking resemblance to the air " Would you gain the tender
creature " in Acis and Galatea. The transcription for the piano,
though very simple, is very good. Handel is given to us unadorned,
or rather undisfigured, by any of those embellishments which are so
characteristic of many transcriptions, which might rather be called
perversions. We are glad to find that Mr. Deane has (with the
exception of "Lord, remember David") exercised his skill upon
little-known and unhackneyed pieces, and we cordially recommend
his arrangements.

Six Alorceaux Caracteristiques pour Harmonium, composes par
G. Goltermann. Op. 62. Offenbach : J. Andr6.

It is somewhat surprising, considering the popularity of the har-
monium, that so little original music should be written for it. Players
are mostly reduced to use either pianoforte pieces, which in many
cases are quite unsuitable, or the easy organ preludes of Rink,
Hesse, &c, which have comparatively little musical interest. In
this dearth of original compositions Herr Goltermann's pieces will
be welcome. They are melodious, well adapted to the instrument,
and by no means difficult to play. The March (No. 3), the Pastorale
(No. 5), and the Alia Siciliana (No. 6), are likely to be the favourite
numbers.

Madchenbilder (Maiden's Pictures), by R. Krause, Op. 15
(Offenbach : J. Andre), are six little sketches for the piano, suited to
the capacity, both physical and intellectual, of young players. They
are very pleasing, and well adapted to their purpose ; but it is to
be regretted that the harmony is sometimes incorrect, as we think
it of great importance that in music, as in literature, nothing impure
should be presented to children.

Marsch der Mohren (March of the Moors), fur Piano, von]. B.
Andre (Offenbach : J. Andre), is a capital little march, which will
be found useful for teaching purposes.

True Love, Arietta for Piano, by Franz M. D'Alquen (Lon-
don : Wood & Co. ), is another of those elegant little drawing-room
pieces in which Mr. D'Alquen excels, and is no way inferior to its
numerous predecessors.

/ know that my Redeemer liveth, Song with Piano and Violon-
cello, by Julius Andr£, Op. 56 (Offenbach : J. Andre), is, curiously
enough, in the same key and time as Handel's setting of the same
words. Moreover, the first three notes of the melody are identical
with Handel's, but here the resemblance ceases. The song is of a
quiet, devotional tone, and has an effective obligato for the
violoncello.

Twenty-five Favourite Hymns, set to music by the Rev. Walter
Miller, Mus. Bac. Oxon. (London: Joseph Masters), if they pre-
sent but little novelty, have at least the merit of being (with the
exception of a few doubled sevenths, &c, which are probably slips
of the pen) correctly written. Among the best we consider Nos. 9,
15, and 20. But the difficulty of writing anything really new in the
psalm-tune is so great, that we are astonished at so many people
attempting it.

A Communion Service, by the Rev. F. W. Davis (London :
Novello, Ewer, & Co. ), is mostly written in the chant form for unison
chorus, with organ accompaniment. The occasional change to the
full harmony of the voices gives variety, and prevents the feeling
of monotony that would otherwise probably result. Being both
easy and pleasing, the service is likely to find favour in country
choirs.

The Beuedictus, pointed and arranged to a new and simple
chant, by the Rev. F. W. Davis (London : Novello, Ewer, & Co.),
Is a very effective setting of the canticle, which we prefer to the
service just noticed. The changes of harmony are judicious, and
not strained, and the piece may be safely recommended.

A very easy Setting of the Responses and Versicles, by the same
composer (no publisher's name attached), though not, we imagine,
likely to supersede Tallis's setting, is good of its kind, and quite
within the reach of all choirs making any pretensions to part-
singing.

A Guide to Correct Vocalisation, by William Georges
(Brighton : G. Wakeling), is a practical and sensibly written little
treatise on the proper formation of the mouth in singing. It is
written in a lively and popular style, and accompanied by photo-
graphic illustrations of the different positions of the mouth for the
various vowels, and by a wedge to be inserted between the teeth
while vocalising. The book is worthy the attention of teachers of
singing.

She sang to her Harp, Song, written and composed by Alfred
B. Allen (London : R. Cocks & Co.). One line of this song
informs us that "Owls at her did wildly stare." No wonder — if
they understood anything of harmony.

Murm'rtng Breezes, Caprice elegant pour Piano, par Edouard

122

THE MONTHLY MUSICAL RECORD.

[September I, 1871.

Dorn (London : Augener & Co.), is appropriately christened
"elegant," being a very tasteful little drawing-room piece in its
composer's facile and fluent manner. It is likely, we should think,
to rival in popularity any of its author's previous productions.

Hunting Soiu; (Solo and Duet) for Piano ; Sea Sheen (Meer-
leuchten), Polka dc Salon ; The Rivulet (am Bache), for Piano, by
G. J. Van Eyken (London : Augener & Co.), are all excellent
teaching-pieces in various styles. The " Hunting Song" is full of
spirit and "go," and the "Rivulet" (which we like best of the
three) is graceful and full of capitaljpassages for the improvement
of the pupil.

MUSIC RECEIVED FOR REVIEW.

Cooper, Alex. S. "Sweet Echo," Part Song. (London: No-
vello, Ewer, & Co.)

Cooper, Alex. S. "O Tranquil Eve," Part Song. (Novello,
Ewer, & Co.)

Cooper, Alex. S. "Cheerily, Cheerily," Part Song. (Novello,
Ewer, & Co.)

E. H. "The Ilkley Wells House Galop." (London: Schott
& Co.)

Lahmeyer, Carl. " Romance sans Paroles, pour le Piano."
(London : Cramer, Wood, & Co.)

Spencer, H. C. "Songs illustrating the Intervals." (London:
Augener & Co. )

Concerts, &r*

HER MAJESTY'S OPERA.

The performances of Her Majesty's Opera at Drury Lane Theatre,
under the direction of Mr. Mapleson, were brought to a close for
the present season on Saturday, the 5th of August. As at the rival
house at Covent Garden, there has been but very little novelty pro-
duced, most of the operas brought forward being what may be
termed the stock-pieces of the stage. A brief record of the more
important features of the performances will, therefore, be all that is
required.

It will be'remembered by some of our readers, that during the
two seasons of 1869 and 1870 Mr. Mapleson had been associated
with Mr. Gye in the direction of the Royal Italian Opera. During
the season now concluded the former gentleman returned to Drury
Lane, where he had previously had the management of the Opera in
1868.

The opening performance this year took place on the 15th of
April, the opera selected on that occasion being Lucrezia Borgia.
The cast contained but few features of novelty, the chief one being
the assumption of the part of Gennaro by Signor Vizzani, an excel-
lent tenor singer, who had hitherto been connected with the Covent
Garden company. Mdlle. Titiens and Mdme. Trebelli-Bettini sus-
tained the parts of Lucrezia and the Page.

On April the 20th Linda di Chamouni was produced, with Mdlle.
lima de Murska in the principal character. In the same opera Mr.
Bentham made his first appearance on the stage as Carlo. This
gentleman has an agreeable, light tenor voice, and his performance
showed considerable promise. Signor Agnesi, an excellent basso,
with a finished and artistic style, also re-appeared, after an absence
from this country of several years. Signor Borella, who will be
remembered as having made his mark as a buffo singer at the per-
formances of the Opera Buffa at the Lyceum earlier in the year,
appeared on the same occasion.

The performance of Faust, on the 25th of April, was noticeable
for the very successful debut of Signor Nicohni in the title-role.
The same gentleman subsequently performed the principal tenor
parts in // Trovatore, Les Huguenots, Robert le Viable, kc.

Perhaps the most important event of the season was the first
appearance of Mdlle. Marimon, as Amina in La Sonnambula, on
May the 2nd ; on which occasion that lady fully satisfied the high
expectations that had been excited by the reports which had
reached us from the Continent. Both as vocalist and actress her
success was unqualified. Owing to the treacherous nature of our
English climate, and the exceptionally inclement spring, she suffered
so much from indisposition that she was only able to appear subse-
quently in one other of the various parts which she was announced
to represent in the prospectus— that of Maria in La Figlia del Reggi-
tnenlo. Her illness must have entailed heavy loss on the manager,
though her place was on several occasions admirably filled by Mdlle.
lima de Murska, and on others by Mdlle. Leon Duval.

M. Capoul, a tenor singer from the Opera Comique at Paris,
appeared for the first time in the part of Faust, on June the 1st, with
great success, which was subsequently confirmed by his performances

of the Duke in Rigoletto, and Elvino in La Sonnambula. Other
singers who made their debut at the same time are best passed over
in silence.

On the 3rd of June Robert le Diable was performed, with Mdlle.
Titiens as Alice, and Mdlle. lima de Murska as Isabella. M.
Belval, from the Grand Opera at Paris, made his first appearance
as Bertram, displaying a fine bass voice, of extensive compass and
excellent quality. The same artist was also subsequently heard as
Marcel in Les Huguenots.

The first performance this season of Rossini's Semiramide, on
the 23rd of June, was distinguished by an excellent cast, including
Mdlle. Titiens as the Queen, and Mdme. Trebelli-Bettini as Arsace.

The next event of interest was the first appearance of Signor
Mendioroz in Verdi's Rigoletto, on the 4th of July. This gentle-
man, who possesses a very good baritone voice, was very successful
as the unfortunate jester.

A week later, on July n, two other singers, Signori Prudenza and
Bignio, made their debuts in Lucia di Lammermoor, producing a
favourable impression.

The only novelty of the season was the revival of Donizetti's
Anna Bolcna, which had not been heard in London for something
like twenty years. Though full of pleasing melody, it can scarcely
be regarded as one of its author's best works. The part of the ill-
fated Queen was impersonated with her usual dramatic power and
finished vocalisation by Mdlle. Titiens, the other characters being
represented by Madame Sinico, Mdlle. Fernandez, and Signori
Prudenza, Agnesi, Caravoglia, and Rinaldini. The opera was twice
subsequently repeated, the last occasion being on the concluding
night of the season. -

Among the unfulfilled promises of the season are to be mentioned
the production of Flotow's new opera, L Ombre, and the announced
repetitions of Cherubini's Medea and Wagner's Fliegendcr Hol-
lander. The non-performance of the last-named work, which excited
so much interest on its first performance in this country, was more
particularly a cause of regret to musicians.

It is only necessary, in conclusion, to say that the musical arrange-
ments were under the control of Sir Michael Costa, who was for so
many years associated in the same capacity with the house at
Covent Garden. His experience and ability are so well known
that it is unnecessary to do more than allude to them.

ST. THOMAS'S HALL, SOUTH HACKNEY.

Madame Louise Boucher, pianiste, and pupil of Sir Jules
Benedict, gave an evening concert at the above hall on Thursday,
July 27th. The beneficiaire was assisted by Miss Lucie Hann and
Mr. J. B. Wade Thirlwall, as vocalists, and Herr Alphons Beck, as
solo violin. The concert commenced with a symphony by Haydn ;
after which, Miss Lucie Hann and Mr. J. B. Wade Thirlwall sang
Verdi's duet from // Trovatore, " Home to our Mountains," which
was very effective, and much applauded. Herr Beck, on the violin,
gave a well-executed performance of Ernst's " Ele'gie." Madame
Boucher's other pieces were Weber's "Invitation to the Dance,"
Thalberg's "Home, sweet Home," and a sonata by Beethoven,
in all of which she gained favourable recognition by her artistic
playing. Miss Lucie Hann sang Bevignani's "La Vezzosa," and
the favourite Scotch song, "Robin Gray," with touching expression ;
and Mr. J. B. Wade Thirlwall was again deservedly successful in
Gounod's song, " In the Spring Time" (Pet Dove), and Meyerbeer's
"Fisher-maiden." Altogether, the concert went off well, and was
deserving of a better attendance.

MESSRS. HILL'S MELBOURNE ORGAN.

The large organ built for the Town Hall of Melbourne, Australia, by
Messrs. Hill and Son, having been completed, was formally opened
during the past month by various performances at their factories,
Great College Street, Camden Town. The gentlemen who played
were Messrs. H. R. Bird, G. Carter, C. S. Jekyll, and W. S. Hoyta,
who showed off the power and the different stops of the instrument
to great advantage. It is, of course, difficult in such a confined
space as an organ-builder's factory, to judge of the effect of such a
large instrument in a building of appropriate dimensions ; but as
the organ is one of the largest — if not the very largest — that these
renowned builders have ever constructed, we think some account of
it will not be without interest to our readers.

One chief point that struck us in listening to the instrument was
the excellent balance of tone. In the full organ diapasons, mixtures,
and reeds seemed remarkably well blended. The diapasons are very
full, and of a round, pure, and happily unreedy tone, this quality
being, of course, supplied by the various gambas, salcional, &c. The
reeds are resonant and brilliant, without overpowering the rest of
the organ, except in the case of the tuba mirabilis, which, of course,
is only intended to be used on rare occasions. The pedal organ,

September i, x87i.] THE MONTHLY MUSICAL RECORD.

123

which has twelve stops, is very effective, the large-scale 32-ft. metal
pipes telling out exceedingly well. We should have liked a 32-ft.
wood also ; but we suppose there were not sufficient funds for this.
We subjoin the specification of the organ : —

Great Organ, cc— c, 61 notes : double open diapason, 16 ft. ; bourdon,
16 ft. ; open diapason (No. 1), 8 ft. : open diapason (No. 2), 8 ft.; gamba,
8 ft. ; stopped diapason, 8 ft.; principal (No. 1), 4 ft- i principal (No. 2),
4 ft. ; harmonic flute, 4 ft. ; twelfth, 3 ft. ; fifteenth, 2 ft. ; full mixture,
4 ranks ; sharp mixture, 3 ranks ; double trumpet, 16 ft. ; posaune, 8 ft. ;
trumpet, 8 ft. ; clarion, 4 ft.

Choir Organ, cc— c, 6t notes : bourdon, 16 ft. ; salcional, 8 ft. ; dulciana,
8 ft. ; gedact (metal treble), 8 ft. ; gamba, 4 ft. ; principal, 4 ft. ; gemshorn
twelfth, 3 feet ; gemshorn harmonic, 2 ft. ; dulciana mixture, 2 ranks ;
clarionet, 8 ft.

Sweli Organ, cc— c, 61 notes : bourdon, 16 ft ; open diapason, 8 ft. ; cone
gamba, 8 ft. ; pierced gamba, 8 ft. ; stopped diapason (metal treble), 8 ft. ;
principal, 4 ft. ; suabe flute, 4 ft. ; twelfth, 3 ft. ; fifteenth, 2 ft. ; mixture,
4 ranks ; double trumpet, 16 ft. ; cornopean, 8 ft. ; oboe, 8 ft. ; clarion, 4 ft.

Solo Organ, cc— c, 61 notes : lieblich bourdon (tenor c), 16 ft. ; harmonic
flute (wood bass), 8 ft. ; vox angelica (tenor c), 2 ranks, 8 ft. ; flute octaviante,
4 ft. ; piccolo, 2 ft. ; glockenspiel (tenor c), 2 ranks ; bassoon (tenor c), 16 ft. ;
clarionet, 8 ft. ; Orchestral oboe (tenor c), 8 ft. ; vox humana, 8 ft. ; oboe
clarion, 4 ft- ; tuba mirabilis, 8 ft. ; tuba mirabilis, 4 ft.

Pedal Organ, ccc — f, 30 notes: double open diapason (metal), 32ft. ;
open diapason (metal), 16 ft. ; open diapason (wood), 16 ft. ; bourdon, 16 ft. ;
quint, 12 ft. ; principal, 8 ft. ; violon, 8 ft. ; twelfth, 6 ft ; fifteenth, 4 ft. ;
mixture, 3 ranks ; trombone, 16 ft. ; clarion, 8 ft.

Couplers, &c. : swell to great; do. sub-octave; swell to choir; choir to
great (sub-octave) ; solo to great ; solo to pedal ; choir to pedal ; great to
pedal ; swell to pedal.

Four composition pedals to great ; 3 do. to swell ; 2 do. to choir ; and 4
combination stops (by hand) to solo organ ; solo tremulant. Total, 79 stops
and 4,373 pipes.

INTERNATIONAL EXHIBITION.— ORGAN PERFORM-
ANCES AT THE ROYAL ALBERT HALL.

Among the most interesting recent musical events must be con-
sidered the performances which, since the completion of the great
organ in the Albert Hall (noticed in our last number), have been
given on that instrument by various foreign players, and by Mr. Best,
the organist of the hall. It was a very good idea of the Commis-
sioners to invite foreigners of distinction to exhibit their powers
during the exhibition ; and if the performances have not always
been up to the standard of excellence that might have been desired,
no blame can, of course, attach to the gentlemen giving the invita-
tion, as the selection of the performers did not rest with them, and
it would be impossible for them to examine into the qualifications of
each player. It is to be regretted, however, that other English
organists besides Mr. Best were not invited to perform ; for, with-
out intending the least disparagement to that gentleman, whose
finished execution and wonderful mastery of his instrument it is
always a pleasure to listen to, it would have been highly interesting
to compare the styles of our various players. Such men as Dr S. S.
Wesley, Mr. George Cooper, Mr. Henry Smart, and many others
who might be named, are fully qualified to sustain the credit of our
country in the matter of organ-playing ; and we still hope that
opportunities may be afforded of hearing them.

The foreign organists who have been heard at the Albert Hall up
to the time of our going to press have been Messrs. Heinze, from
Stockholm ; Lohr, from Pesth ; Bruckner, from Vienna ; Mailly,
from Brussels ; and Saint Saens, from Paris. As comparisons
are odious, we have no intention of expressing any opinion as
to the relative merits of these gentlemen, but shall merely make
a few general remarks as they occur to us. And first, we will
say that many of the performances were characterised by a very
respectable mediocrity, and not much beyond. It must, however,
be taken into account that the enormous size of the instrument
was undoubtedly, in many cases, prejudicial to the players ; more
especially as we understand that it is almost impossible at the key-
boards to judge of the effect in the hall. The only safe rule in such
a case is that which one of our most eminent organists laid down in
talking to us lately on this very subject— to use just so much of the
organ as one is familiar with, and leave the rest alone. From a
disregard of this maxim some of the organists made what we can
only describe as a most distressing noise on the instrument ; after
which Mr. Best's quiet playing was quite a relief.

One word, in conclusion, on what we cannot help considering a
piece of flagrantly bad taste. Herr Bruckner's performances were
heralded by a "puff preliminary," announcing that his "strong points
are classical improvisations on the works of Bach, Handel, and Men-
delssohn." We do not know who was responsible for this announce-
ment ; but if Herr Bruckner is a modest man (and we have no reason
to assume the contrary), the fact of his being puffed in that way would
be sufficient to clip the wings of his imagination at once. If these
are his "strong points," Herr Bruckner is evidently not a Samson
on the organ. His improvisations, when we heard him, were

musicianly, and nothing more. As we are anxious not to be
personal, we should not have adverted to this matter were it not, in
a manner, forced upon our notice by the way in which it was
advertised. Herr Bruckner is a very respectable player ; but really
great improvisations are productions peculiar to genius, and of that
we perceived no proof. We hope that in future organists will be
allowed to present themselves without such flourishes, which,
whether justified by the result or not, must do them more harm than
good.

Jfflustcal ^otcsu

The annual concert of the Tonic Sol-fa Association took place
at the Crystal Palace on the 16th ult. The choir was composed
entirely of certificated pupils, to the number of between three and
four thousand. The performances were exceedingly cred itable ;
especial interest being excited by the "sight-singing test," a part-
song, composed for the occasion by Mr. Henry Leslie, which was
extremely well sung. The conductors were Messrs. Sarll and
Proudman ; and after the concert, the Rev. John Curwen distributed
prizes to the successful pupils.

The Archbishop of Canterbury has conferred the degree of Doctor
of Music on Professor Oakeley, of Edinburgh University.

At the recent meeting of the British Association, in Edinburgh,
Professor Dr. Oakeley gave an organ recital to the members on the
fine instrument in his class-room.

We understand that Schubert's fine mass in F is to be performed
at St. Joseph's Catholic Church, Glasgow, with full orchestral
accompaniments, in October. It is also intended to give a public
performance of the same work towards the close of the year.

The Leipzig Signale states, on what it considers good authority,
that Mr. Gye's season at the Royal Italian Opera, Covent Garden,
has brought in a net profit of ,£16,000.

Herr Carl Tausig, one of the most distinguished German
pianists, a pupil of Liszt, died of typhus fever at Leipzig, on the
17th of Julv, at the early age of thirty.

Prince Bismarck has sent Carl Wilhelm, the composer of the
now celebrated " Wacht am Rhein," the sum of 1,000 thalers
(^150), as an acknowledgment of the services rendered in the late
war by his music, and intimates his intention of granting him a
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words of the song.

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125

OCTOBER 1, 1 87 1.

THE MUSIC OF THE FUTURE.
There are few subjects on which there has been more
difference of opinion — few, too, which have evoked more
bitterness in controversy — than that on which we propose
in this article to make some remarks. Many of our
readers wijl be aware that the term " Music of the Future "
has been adopted by the composers of the new German
school as their watch-word, while it is applied ironically
and as a sneer by their adversaries. The former say,
" Just as Beethoven's works were not appreciated till long
after their production, because they were in advance of
their age, so it is with ours. Fifty years hence they will
be understood." Their adversaries retort, " It may well be
called Music of the Future ; it certainly is not Music for
the Present ! " Much may be said on both sides of the
question ; and our object in this article is first to name a
few of the salient characteristics of this school, and then
to point out some of the difficulties in the way of coming
to a final conclusion about its merits, and its future pro-
spects.

Among the most prominent of the " Musicians of the
Future " are Richard Wagner, Johannes Brahms, Franz
Liszt, and Anton Rubinstein. To these some critics would
a:ld Robert Schumann. Of those just mentioned, Wagner
undoubtedly occupies the most conspicuous place. It
would be superfluous to enumerate his chief works ; they
are familiar, at least by name, to all musicians. It is,
however, less generally known that Wagner is not only a
composer, but an author of no mean ability, and that he
has published various works, " Art and Revolution," " The
Art-work of the Future," " Opera and Drama," &c, in
support of his theories. Liszt also has taken up the
cudgels vigorously on behalf of his friend. It is difficult
within the limits of one article to give a complete and
intelligible abstract of Wagner's views. He looks upon
the works of the great masters of the past as so much
"absolute" music — that is, music independent of every
other branch of art ; and he considers that they have had
their day, and are now outgrown. His idea of the opera
is that it should be a work in which poetry, music, the
dance, and painting are to be of equal importance, and to
form one homogeneous whole. Every changing sentiment
and emotion must be expressed with, as far as possible,
literal truth. To attain this end, thematic development is
to a great extent sacrificed ; and his operas — the later
ones especially, in which his theories are most fully illus-
trated— become more like a series of brilliant musical dis-
solving views, or like one elaborate fantasia for voices and
instruments, than what we have been accustomed to expect
in this class of composition. Accompanied recitative forms
a large portion of his more recent works, and of regularly
developed airs, duets, quartetts, &c, there are compara-
tively but few examples. Of his great talent — nay, his
genius — there can, we think, be no question ; of his pro-
bable influence on the future of art, it is too early at present
to speak with any confidence.

If Wagner may be taken as the representative of the
Music of the Future in its dramatic phase, Brahms, Liszt,
and Rubinstein may be considered as among its chief ex-
IO

ponents in the more general domain of vocal and instru-
mental composition. One of the chief characteristics of
these writers is their earnest striving after originality.
This tendency is sometimes carried so far as to involve
the sacrifice of musical beauty. Rather than not be new,
their ideas will even be ugly. It is probably this constant
striving after novelty which has caused Schumann to be
included by many among the composers of the Future ; for
though in other things he differed widely from the writers
of whom we are now speaking, in this respect he resembled
them. Another distinctive feature of this school is the
extreme, sometimes undue, length of development, not to
say diffuseness, which marks its compositions, especially
in instrumental music. The ideas are presented in every
possible form, and the episodes are frequently more im-
portant than the first subjects. Hence musical unity, as
it was formerly understood, is to a considerable extent
wanting ; and in its place we have, as also in Wagner's
operas, a series of thoughts often apparently but slightly
connected, though frequently in themselves interesting,
and even charming.

The question then forces itself upon our notice, Is this
new movement in music a forward or a retrograde one ?
To this question we think it is presumptuous at present to
attempt to give a decided answer. Time alone will show.
It is most important to remember that the progress of ait
has ever been towards fresh discoveries, and to develop-
ment in new directions. A century ago Haydn's works
were looked upon as the nc plus ultra of music, and
Mozart was censured by the critics of the day for his
daring innovations. Even more remarkable was the out-
cry raised by Beethoven's compositions at the beginning
of the present century. When we find the principal
musical journal of the day (the Allgemeine Musikalische
Zeitungiox 1799) speaking of Beethoven's three sonatas.
Op. 12, now considered among his simplest and most
intelligible works, in these terms — "If Beethoven would
only restrain himself more, and write naturally, he might
with his talent and industry accomplish something really
good" — and remember, too, that this criticism expressed
the general opinion of the time, we may well pause before
condemning works merely because they differ from those
that have preceded them. It is quite possible that a
musical journal of the next century may write, " It is per-
fectly unintelligible to us how such works as those of
Wagner, Liszt, and Brahms, now considered models of
simple purity, could have been regarded at the time
of their production as monstrous incoherencies." A strik-
ing instance, moreover, of the progress of musical thought
is to be seen in the change of public opinion with respect
to Robert Schumann. Twenty years ago he was almost
universally regarded — as he still is by some— as one of the
most abstruse and unintelligible of the musicians of the
future. Thanks, however, to the persistence of the few
who understood and admired him, his music has made
its way, and he is now beginning to be generally appre-
ciated, even in this our musically conservative country.
May it not perhaps be the same hereafter with other com-
posers ? Everything that is strikingly original requires
time before it can be properly understood. Thomas
Carlyle's writings on their first appearance were called " a
mass of clotted nonsense." Now he is justly ranked among
our greatest authors. It was the same with Beethoven.
Will the turn of the musicians of the Future come also ?
It is impossible to say : our point of view is not yet
sufficiently removed to enable us accurately to measure
their real stature. Meanwhile it behoves us not to be hasty
in condemnation, lest hereafter we be exposed to the same
charge of intellectual blindness to which the musical critics
of the last century laid themselves open.

120

i tltL MUiN 1 nL,Y 1V1US1L,/\L, KUtUKiJ.

LOctober i, 1871.

THE SYMPHONIES OF BEETHOVEN.

BY HECTOR BERLIOZ.

{Continued from page 100.)

4. THE SYMPHONY IN B FLAT.

Here Beethoven entirely abandons the ode and the
elegy, to return to the style, less elevated and less sombre,
but not less difficult perhaps, of the second symphony.
The style of this score is generally lively, alert, gay, or of
a celestial sweetness. If we except the meditative adagio
which serves as its introduction, the first movement is
almost entirely consecrated to joy. The subject in de-
tached notes with which the allegro opens is only a
canvas on which the author afterwards spreads other
more real melodies, which thus render merely accessory
the apparently principal idea of the commencement.

This artifice, though fruitful in curious and interesting
results, had been already employed by Mozart and Haydn
with equally happy effect. But we find in the second part
of the same allegro an idea really new, the first bars of
which captivate the attention, and which, after having
excited the minds of the audience by its mysterious de-
velopments, strikes them with astonishment by its unex-
pected conclusion. This is in what it consists : After a
very vigorous tutti the first violins, with fragments of the
first theme, hold a playful dialogue, pianissimo, with the
seconds, which ends in holding notes of the dominant
seventh of the key of B minor ; each of these holding
notes is divided by two bars of silence, filled up only by a
light roll of the drum on B flat, the enharmonic major
third of the fundamental F sharp. After two apparitions
of this nature, the drums are silent, to allow the stringed
instruments to murmur softly other fragments of the
theme, and arrive, by a new enharmonic modulation, on
the chord of the sixth and fourth of B flat. The drums
re-entering then on the same note, which, instead of being
a leading note as the first time, is now a veritable tonic,
continue the tremolo for twenty bars. The force of
tonality of this B flat, hardly perceptible at the beginning,
becomes greater and greater as the tremolo is prolonged.
Then the other instruments, strewing with little unfinished
passages their progressive march, arrive with the. con-
tinual muttering of the drum at a general forie, where the
perfect chord of B flat is established at last by the full
orchestra in all its majesty. This astonishing crescendo
is one of the finest inventions that we know in music :
one can hardly find a companion to it, save in that which
finishes the celebrated scherzo of the symphony in c minor.
Still this last, in spite of its immense effect, is conceived
on a less vast scale, starting from a piano to arrive at the
final explosion, without leaving the principal key ; while
that whose march we have just described begins mezzo-
forte, goes and loses itself for a moment in a pianissimo
under harmonies whose colour is constantly vague and
undecided, then reappears with chords of a more fixed
tonality, and only bursts forth at the moment when the
cloud that veiled this modulation is completely dispersed.
We might say it was a river whose peaceful waters sud-
denly disappear, and only emerge from their subterranean
bed to fall noisily in a foaming cascade.

As for the adagio, it cannot be analysed. It is so pure
in form, the expression of the melody is so angelic, and
of such irresistible tenderness, that the prodigious art of
the workmanship entirely disappears. We are seized
from the first bars with an emotion which toward the end
becomes overwhelming by its intensity ; and it is only in
the works of one of the giants of poetry that we can find
a suitable comparison for this sublime page of the giant
of music. Nothing, in fact, resembles more the impres-
sion produced by this adagio than that experienced in

reading the touching episode of Francesca di Rimini in
the " Divina Commedia," the recital of which Virgil could
not hear without sobs, and which at the last verse makes
Dante " fall as a dead body falls." This movement might
have been sighed by the archangel Michael, one day
when, seized with a fit of melancholy, he contemplated
the worlds as he stood on the edge of the empyrean.

The scherzo consists almost entirely of rhythmical
phrases in common time forced to enter into combina-
tions of bars of triple. This means, which Beethoven has
frequently used, gives much verve to the style ; the
melodic periods become thereby more piquant, more un-
expected ; and, besides, these rhythms crossing the time
have in themselves a charm very real, though difficult to
explain. We feel a pleasure in seeing the time that is
thus pounded about find itself whole at the end of each
period ; and the sense of the musical discourse, for some
time suspended, arrives nevertheless at a satisfactory
conclusion, at a complete solution. The melody of the
trio, entrusted to the wind instruments, is of a delicious
freshness ; the time is slower than that of the rest of the
scherzo, and its simplicity stands out with still more
elegance from the opposition of the little phrases that the
violins throw around the harmony, like so many charm-
ing provocations. The finale, gay and frisky, returns to
the ordinary rhythmical forms. It consists of a clatter of
sparkling notes, of a continual chattering, interrupted
however by some harsh and savage chords, in which the
choleric freaks that we have already had occasion to
notice in the author show themselves again.

5. THE SYMPHONY IN C MINOR,

which is incontestably the most celebrated of all, is also,
to our thinking, the first in which Beethoven has given
play to his vast imagination, without taking for guide or
for support a foreign thought. In the first, second, and
fourth symphonies he has more or less enlarged forms
already known, giving poetry to them by all the brilliant
or passionate inspirations that his vigorous youth could
add. In the third (the "Eroica") the form has a ten-
dency to enlarge, it is true, and the thought rises to a
great height ; but yet we cannot fail to perceive the influ-
ence of one of those divine poets to whom, long since, the
great artist had raised a temple in his heart. Beethoven,
faithful to the precept of Horace,

" Nocturna versate manu, versate diurna,"

read Homer habitually, and in his magnificent musical
epic, that has been said, rightly or wrongly, to have been
inspired by a modern hero, recollections of the ancient
" Iliad" play a part admirably fine, but not less evident.

The symphony in C minor, on the contrary, seems to
us to emanate directly and solely from the genius of
Beethoven. It is his inmost thought that he is going to
develop in it ; his secret griefs, his concentrated rages,
his reveries full of such sad heaviness, his nocturnal
visions, his bursts of enthusiasm will furnish his subject ;
and the forms of the melody, harmony, rhythm, and in-
strumentation will show themselves as essentially indi-
vidual and new as endowed with power and nobleness.

The first movement is dedicated to the painting of the
disordered feelings which overthrow a great soul when a
prey to despair — not that concentrated, calm despair
which borrows the appearance of resignation ; not that
sombre and dumb sorrow of Romeo learning of the death
of Juliet, but rather the terrible fury of Othello receiving
from the mouth of Iago the poisoned calumnies which
persuade him of the crime of Desdemona. It is now a
frantic delirium which breaks forth in frightful cries ; now
an excessive depression which has only accents of regret,

October 1, 1871.]

THE MONTHLY MUSICAL RECORD.

127

and bewails itself. Listen to those hiccups of the orches-
tra, those chords in dialogue between wind and stringed
instruments, which come and go, always growing weaker,
like the painful respiration of a dying man, then give
place to a phrase full of violence, in which the orchestra
seems to rally, animated by a flash of fury ; see that
shuddering mass hesitate for a moment, and then pre-
cipitate itself entire, divided into two burning unisons,
like two streams of lava, and say if this passionate style
is not outside and above all that had been produced
before in instrumental music.

We find in this movement a striking example of the
effect produced by the excessive doubling of the parts in
certain circumstances, and of the savage aspect of the
chord of the fourth on the second note of the scale ; in
other words, of the second inversion of the chord of the
dominant. We meet it frequently without preparation or
resolution, and once even without the leading note, and
on a pedal point, the D being found below in all the
stringed instruments, while the G, all alone, makes a dis-
sonance above in some parts of the wind instruments.

The adagio presents some features of resemblance in
its character to the allegretto in A minor of the seventh
symphony, and the adagio in E flat of the fourth. It par-
takes equally of the melancholy gravity of the first, and
the touching grace of the second. The theme given out
at first by the violoncellos and tenors in unison, with a
simple accompaniment of double-basses pizzicato, is fol-
lowed by a phrase for wind instruments, which returns
constantly the same, and in the same key, from one end
of the movement to the other, whatever be the modifica-
tions undergone successively by the principal theme.
This persistence of the same phrase in presenting itself
always in its so profoundly sad simplicity, produces by
degrees on the mind of the audience an impression that
cannot be described, and which is certainly the most
vivid that we have experienced of this nature. Among
the most daring harmonic effects of this sublime elegy, we
will cite, first, the holding note of flutes and clarionets
above on the dominant E flat, while the stringed instru-
ments move about below, passing the chord of the sixth
D flat, F, B flat, of which the upper holding note does not
form a part ; secondly, the incidental phrase executed by
one flute, one oboe, and two clarionets, which move in
contrary motion, so as to produce from time to time un-
prepared dissonances of the second between the G, the
leading note, and the F, the major sixth of A flat. This
third inversion of the chord of the seventh on the leading
note is forbidden, like the inverted pedal we have just
mentioned, by most of the theorists ; but it none the less
produces a delicious effect. There is, again, at the last
return of the principal subject, a canon in unison at one
bar's distance between the violins, and the flutes clario-
nets and bassoons, which would give the melody thus
treated a new interest, if it were possible to hear the imita-
tion for the wind instruments ; unfortunately, the full
orchestra plays forte at the same moment, and renders it
almost inaudible.

The scherzo is a strange composition, the first bars of
which, though they have nothing terrible in them, cause
that inexplicable emotion that one feels under the mag-
netic glance of certain individuals. All here is mysterious
and sombre ; the play of the instrumentation, of an aspect
more or less sinister, seems to belong to the order of ideas
which created the famous scene of the Blocksberg in
Goethe's Faust. The nuances of piano and meszo-forte
predominate. The middle (the trio) is occupied by a
passage for the basses, performed with all the force of
the bows, the heavy roughness of which makes the desks
of the orchestra tremble on their feet, and is much like

the gambols of an elephant when merry. . . . But the
monster goes off, and the noise of his mad chase dies away
by degrees. The subject of the scherzo reappears pizzicato ;
silence is gradually restored, we hear nothing but a few
notes lightly twitched by the violins, and the strange little
duckings that the bassoons produce, giving the high
A flat, struck very close by the G, octave of the funda-
mental sound of the dominant minor ninth ; then, break-
ing the cadence, the strings softly take with the bow the
chord of A flat, and go to sleep holding it. The drums
alone maintain the rhythm, by striking with sticks covered
with sponge light blows, indistinctly delineated above the
general stagnation of the rest of the orchestra. These
notes of the drums are C ; the key of the movement is
C minor ; but the chord of A flat, long sustained by the
other instruments, seems to introduce a different tonality ;
on its side, the isolated hammering of the drum on c
tends to preserve the feeling of the original key. The ear
hesitates — we do not know how this mystery of harmony
will turn out — when the dull pulsations of the drums, in-
creasing by degrees in intensity, arrive with the violins,
which have resumed movement, and changed their har-
mony, at the chord of the dominant seventh, G, B, D, F, in
the middle of which the drums obstinately roll their tonic C ;
the full orchestra, aided by the trombones, which have
not yet appeared, breaks forth then in the major mode
with the theme of a triumphal march, and the finale
begins. One knows the effect of this thunderbolt ; it is
useless to talk of it to the reader.

Criticism has, notwithstanding, attempted to attenuate
the merit of the author by affirming that he had only em-
ployed a vulgar method of procedure, the brilliancy of the
major mode succeeding with pomp to the obscurity of a
pianissimo minor ; and that the interest continues to
diminish till the end, instead of following the contrary
progression. We will answer : Did it require less genius
to create such a work because the passage from piano to
forte, and from the minor to the major, were already
known? How many other composers have wished to
employ the same resource ? and in what can the result
that they have obtained be compared to the gigantic song
of victory in which the soul of the poet-musician, free
henceforth from earthly trammels and sufferings, seems
to soar radiant towards the skies ? The first four bars of
the theme are not, it is true, of great originality ; but the
forms of the fanfare are naturally limited, and we do not
believe that it is possible to find new ones, without depart-
ing altogether from the simple, grandiose, and pompous
character which belongs to it. Beethoven, too, has only
wished for a fanfare for the commencement of his finale,
and he very soon recovers in the rest of the movement,
and even in the continuation of the principal phrase, that
elevation and that novelty of style which never abandon
him. As to the reproach of not having increased the in-
terest to the close, this is what we might say : Music
cannot, at least in the state in which we know it, produce
an effect more violent than that of the transition from the
scherzo to the triumphal march ; it was therefore impos-
sible to increase it as he advanced.

To sustain himself at such a height is already a pro-
digious effort ; yet, in spite of the amplitude of the de-
velopments in which he has indulged, Beethoven has been
able to do this. But this very equality between the com-
mencement and the end is sufficient to make us imagine
a decrease, because of the terrible shock that the organs
of the audience receive at the opening, and which, raising
the nervous emotion to its highest paroxysm, renders it
more difficult the moment after. In a long row of columns
of the same height, an optical illusion makes the more
distant appear smaller. Perhaps our feeble organisation

I2ii

THE MONTHLY MUSICAL RECORD.

[October I, 1871.

would accommodate itself better to a more laconic perora-
tion, like the " Notre general vous rappelle*' of Gluck ; the
audience thus would not have time to grow cold, and the
symphony would finish before fatigue had rendered it im-
possible to follow the author further. At any rate, this
observation only bears, so to speak, on the mise-en-schie
of the work, and does not prevent this Jinale from being
in itself of a magnificence and richness by the side of
which very few pieces could appear without being crushed.

{To be continued.)

FLY-LEAVES FROM THE PORTFOLIO OF AN
OLD SCHOOLMASTER.
I. On Practising.
It is a thoroughly wrong notion that a celebrated and
experienced teacher is sufficient to ensure satisfactory
progress with a pupil. Such a one may, xindoubtedly,
shorten and simplify to a great extent the study of the
young musician ; but a great, a very great deal must be
done by the pupil himself. The process of teaching and
learning might be compared to a couple of horses attached
to a carriage. If both horses pull and draw well together
the carriage will run smoothly and comfortably, and will
cover a great deal of ground. It may, perhaps, not be
uninteresting to peruse the experiences of a musician who
has been teaching for thirty years. The relations between
the teacher and the pupil are clear and simple enough.
The master points out the distant goal which has to be
reached ; the pupil, by his working and practising, tries to
gain the indicated points. It is undeniable that some
pupils expect too much to be done by the teacher. Some
would even like him to practise for them, or would not
mind making him responsible for their want of progress.
The teacher can only explain, advise ; he can point out
mistakes, he can show the means of realising a theoretical
rule, but he cannot practise for the pupil. The student
should, above all, try to work out all the hints thrown out
by the master, and to observe strictly all remarks which
experience and talent dictate to him.

It is necessary that both parties meet with perfect
mutual confidence. Cordiality ought to be the leading
feature of the teacher ; confidence and complete trust in
the teacher ought to be returned by the pupil. An honest
teacher will ask himself whether the fault the pupil makes
is not his own — we mean brought on by his having
forgotten to show and explain it to the student. On the
other side, the pupil ought never to think that it is a
mistake or failing not to know a rule ; a false sense of
modesty sometimes prevents young people asking their
teacher for explanation, or confessing that a single explana-
tion was not sufficient. The teacher will not be bored by
repeated questions ; on the contrary, he will be pleased as
he recognises in the desire to be taught the unmistakable
sign of interest. Sometimes the teacher supposes that
the pupil is acquainted with all the chief terms of expres-
sion. This knowledge is but seldom possessed. Pupils
play sonatas without having the slightest notion what the
word " sonata " means. But very few young students are
aware of the difference between an adagio and an andante
— a larghetto and allegretto — of the sense of rinsforzando,
estinto, tempo giusto, &c. &c. Very often they confound
a diminuendo with a ritardando ; indeed one is astonished
to find, when examining the pupil closely, how few of the
most frequent expressions are understood. A very good
plan is to prevail on the pupil to write down every
explained term after the lesson — a little dictionary is soon
formed, and by writing it down oneself \t is impressed for
a long time on the memory.

It happens sometimes that a pupil is physically tired in
a lesson — a little rest is necessary ; such rests cannot be
employed more advantageously than by talking over these
matters. All the different forms of music might be touched
upon — it will be found that the pupil takes an interest in
it, and that he soon feels the importance attached to the
performance of a sonata of Beethoven or a fugue of Bach.

It is highly essential to direct the student's attention to
the proper mode of practising. For this purpose it is a
capital plan to devote one lesson entirely to the practice
— we mean that the teacher practises together with the
pupil. A pupil may devote ten hours' practice to a certain
piece, without deriving the advantage a single hour's
study would afford, when employed in a systematic, well-
regulated, orderly way. And it is the system, the order,
— the teacher has to show and to explain. It is but seldom
that pupils possess an instinctive talent for practising
well ; some students have a practical eye for discerning
the best, surest, and shortest way to overcome difficulties
—but such persons are merely an exception to the rule.
It is of the greatest importance that the teacher helps the
student to fix at once the best, and at the same time the
most practical fingering. The experienced teacher will of
course consult his pupil's hand, and by this help him to
overcome otherwise great obstacles.

Should the piece prove very difficult, it will be found
very useful to divide it into several parts ; if all these parts
are so complicated that the student becomes rather dis-
heartened at the remote prospect of final success, it is a
good plan to play the whole piece over to the pupil. By
this the interest and encouragement to learn it is raised
and enlivened, and the listening to the whole effect makes
the pupil set heartily and cheerfully to work to reach the
goal.

The student ought to try to amalgamate, so to say, his
own individual feeling with the task before him. In both
an intellectual and a technical sense, the piece ought to
be identified with the performer. To attain this end a
certain sympathetic relation is indispensable. Such rela-
tion may be both an interior and an exterior one. The
intellectual quality of the piece must be understood by the
pupil— at least, a certain interest ought to be awakened by
playing such a piece. To attain this end the teacher will
be careful and considerate in his choice, and will consult
more or less the personal taste of his pupil. If there
is difficulty in understanding the sense of the whole piece,
a repeated playing it over for the sake of the pupil is the
best way to lead to a just appreciation.

The exterior quality of a piece, consisting solely of the
technical side, ought to be within the reach of the pupil.
Such things are somewhat like our own physical pro-
gress ; we walk safer step by step only — a jump is highly
dangerous for the unpractised, and can easily lead to a
fall. It is bad to practise continually too easy pieces ;
both mind and body relax through it, and when again
attempting a more difficult task, a failing of energy, a
certain discouragement will be perceptible. Quite as
dangerous is it to play too difficult pieces. This again
leads to neglecting the beauty of the style of playing, and
also towards an exaggeration of the technical execution,
and finally to an inability to play easier pieces clearly
and well.

The safest way to learn a piece thoroughly well is
decidedly to play it over from the beginning to the end
slowly, so as to become acquainted with its proportions,
with its structure, and also with its beauties. If this has
been done the pupil will soon find out the most difficult
passages. These ought to be attackedyfrj/. A complete
analysis of them has to be made ; the organic structure
of the hand has to be consulted, so as to find the best,

October i, 1871.]

THE MONTHLY MUSICAL RECORD.

1 29

most practical, and surest fingering. It is a good plan to
note down with pencil different Ways of fingering. By
this process the student will soon find out the most
suitable. When the passage has been conquered and its
execution has become clear, easy and fluent, it is desirable
to go back some twenty or thirty bars, so as to amalgamate
or combine it with the other parts. Passages which are
less difficult will be found comparatively easy, and the
pupil will be able to play them with expression and with
a certain freedom. If this point has been gained, the
desire to play the most difficult passage also with freedom
and expression comes by itself. No passage sounds well
or effective if it is not played with ease, freedom, and
expression ; otherwise jt sinks to the level of a merely
mechanical movement, which is devoid of interest and
becomes tiresome.

Great importance ought to be laid on the rhythmical
qualities of a piece. Rhythm is the soul of music ; it
forms, in fact, the greater part of the effect. If the rhyth-
mical expression is correct and good, the piece will be
full of life and energy. Most rhythmical figures are
staccato. For this reason staccato passages ought to be
practised with the greatest accuracy, attention, and pre-
cision. The chief features of musical expression are the
legato and staccato, forte and piano. If these characteristic
means of expression are observed from the very beginning,
the piece becomes lively, animated, and interesting. All
farther refinements, the different gradations of legato and
staccato, forte and piano, may be kept back for a little
while. The chief and essential point for the beginning is
decidedly correctness of playing and observance of the
cliief expression. The last polish and finish will come
later, and with a talented person quite by itself.

Among the most common shortcomings or failings of
amateurs, when compared with artistes, will be found a
certain unevenness, one might almost say a spasmodic
expression. Whence comes this failing ? Merely from
an insufficient practice of the scales. Young people are
but rarely fond of practising their scales ; indeed it is very
rare to meet with a student who is able to play correctly
and fluently all the major and minor scales in thirds,
sixths, octaves, and tenths. The scale is the foundation
of the whole musical system. Scarcely a passage exists
in the whole wide range of our pianoforte literature which
could not be traced to the scale. Chords are but an
interrupted or broken scale. All that Bach, Mozart,
Beethoven, &c, wrote rests on the scale. For this reason
a daily practise of the scale is quite indispensable. The
chief reason of a defective, wavering fingering is the not
sufficiently knowing the scales. Passages which are
difficult in both hands at the same time, are best practised
with each hand singly. Its is better to begin with the left
hand ; being the weaker' one it requires more rest to
regain its elasticity and strength. If each hand can per-
form the passage clearly and Ifrtn fluency, we may
attempt to try both hands together — at first slowly and
with undivided attention. It is good to dwell a little on
the most complicated parts ; also to play these bars a
little louder than others. By this we gain roundness and
distinctness of tone. Above all, coolness of temper is
essential for practising. To become passionate, angry, or
disheartened is the very worst thing for any one who learns.
It happens frequently that a passage, after having been
played very often, seems to go worse than at first. This
is a sure sign that our intellectual faculties are tire'd.
Sometimes a less effective execution arises also from a
relaxation of the muscles. In both instances a rest of a
few minutes is desirable. We need not lose time with
such a rest ; we may (and this is even a great pleasure)
peruse the piece with the eye, and it is decidedly desirable

to practise our eye to such an extent, that the effect of a
piece may be discerned by simply reading it.

(To be continued.) F. P R.

INCIDENTS OF FRANZ LISZT'S YOUTH.

COMMUNICATED BY C. F. POHI,
(TRANSLATED FROM THE MUNICH PROPYLAEN, 1869.)

The pianist Carl Czerny, who died at Vienna on the 15th
of July, 1857, has left us a very attractively written auto-
biography. An interesting section of it speaks especially
of his relation to Franz Liszt, who, when a boy of eight
years, was presented by his father to the famous master
with the request to accept him as pupil ; to which Czerny,
perceiving at once the immense talent of the boy, agreed.
Liszt's coming to Czerny, and the method of teaching he
adopted, the experienced master relates in his simple but
truth-loving style in the following lines : —

In the year 18 19, shortly after Belleville (Czerny had
undertaken to teach music, in the year 18 16, to the ten-year-
old Ninetta Belleville, " one of the rarest musical talents,"
and she lived at the same time with Czerny's parents) had
left us, one morning a gentleman came with a little boy
of about eight years, and asked me to let the little one
play something on the piano. He was a pale, weakly-
looking child, and in playing he reeled on the chair as if
drunk, so that I often thought he would fall down. Also
his playing was quite irregular, indistinct, and confused ;
and of lingering he had so little idea, that he threw his
fingers over the keys quite ad libilitw. But, nevertheless,
I was astonished at the talent with which nature had
favoured him. He played several things I put before him
at sight — true, as a self-taught player, but for this very
reason in such a manner, that one could sec nature itself
had formed a pianist. The same was shown when, ful-
filling the desire of his father, I gave him a theme on
which to extemporise. Without the least knowledge of
harmony, he put a certain genial spirit into his per-
formance.

The father told me that his name was Liszt, that he
was a subordinate official of Prince Esterhazy ; up till now
he had instructed his son himself, but he would beg of me
to take his little Franzi under my care, when he came to
Vienna next year.

I agreed to this readily, and gave him at the same time
hints as to the manner in which he was to further the
progress of the boy in the meantime, by showing him
scale exercises, &c. About a year later, Liszt came with
his son to Vienna, took lodgings in the same street in
which we lived (in the Kruger Strasse); and I devoted to
the boy, having no time during the day, nearly every
evening.

Never had I such a zealous, genial, and industrious
pupil. As 1 knew, from long experience, that just such a
genius,whcrc the intellectual gifts are generally in advance
of the physical powers, is likely, as a rule, to neglect the
fundamental technical studies, it appeared to me to be
necessary, before everything else, to employ the first
months in regulating and fixing his mechanical accuracy
in such a way that it could not go wrong in later years.

In a short time he played the scales in all keys with all
the masterly fluency which his fingers, so favourably formed
for piano playing, made possible ; and by an earnest study
of Clemcnti's Sonatas (which will always remain the best
school for pianists, if they know how to practise them
according to his intention), I accustomed him to
strict accuracy of time, in which he had been quite
wanting till then ; further, to a fine touch and tone, correct
fingering, and true musical declamation ; although those

130

THE MONTHLY MUSICAL RECORD.

[October i, 1871.

compositions appeared at first rather dry to the lively and
always merry boy.

This method had the effect that, when a few months
later we took works by Hummel, Ries, Moscheles, and
afterwards Beethoven and Bach, I had no occasion to
trouble much about the mechanical rules, but could lead
him at once to the apprehension of the spirit and cha-
racter of the different authors. As he had to learn every
piece very quickly, he acquired the faculty of playing at
sight at last to such a degree, that he was able to play
even difficult compositions of importance publicly at sight,
just as if he had studied them for a long time. I also
endeavoured to accustom him to extempore playing, by
him frequently themes to improvise upon.

The unchanging liveliness and good temper of little Liszt,
as well as the extraordinary development of his talent, caused
my parents to love him as a son, and myself to love him as a
brother. I not only instructed him gratuitously, but also
furnished him with all the necessary music, which com-
prised pretty well everything good and useful published
up to that time. A year later I could already let him
play in public, and he excited an enthusiasm in Vienna
such as but few artists created. In the next year his
father gave public concerts with him for his own benefit,
in which the boy played the, at that time, quite new con-
certos by Hummel in A minor and B minor, Moscheles'
variations, Hummel's septett, the concertos by Ries, and
many of my compositions, and also improvised each time
on themes given to him by the public. People at that
time were, indeed, not wrong if they thought to see in
him a second Mozart.

Unfortunately his father wished to reap great pecuniary
advantages through him, and at the time the boy was
studying his best, and I had just begun to instruct him
in composition, he went on journeys, first to Hungary,
and lastly to Paris and London, &c, where he, as all the
papers of that time testify, excited the greatest attention.
At Paris, where he settled with his parents, he made a
great deal of money, but lost many years, because his life
and his art were taking a false direction. When, sixteen
years later, I came to Paris (1837), I found his playing in
every respect rather confused and wild, notwithstanding
his tremendous execution. I thought I could not give
him better counsel than to make travels through Europe ;
and when he came to Vienna, a year later, his genius took
a new flight. Under the boundless applause of our fine-
feeling public, his playing soon acquired that brilliant,
and at the same time clear style, through which he is
now so famous all over the world. But 1 am convinced
that if he had continued the studies of his youth for a few
years in Vienna, he would now in his compositions also
justify all the high expectations which were then rightly
formed of him.

11.

Closely connected with the foregoing chapter of Czerny's
autobiography, six correctly copied letters* from Liszt's
father addressed from Augsburg, Paris, and London to
Carl Czerny, are here published for the first time. They
depict to us in lively and, at the same time, true colours
the results of these first extensive travels of the artist of
twelve years.

FIRST LETTER.f

Augsburg, 2nd Nov., 1823.
Esteemed Sir, — We safely arrived on the' even-

* The originals are in possession of the Gescllschaft dcr Musikfrcunde at
Vienna.

t The translator has endeavoured to keep as close as possible to the

al, which will account for many inelegancies of expression. The

making use of such terms as "kissing the hand," and putting the title
"von" before the name, are customary forms of Austrian politeness.

ing of 26th of September at Munich, aod left there on
the 28th of October. The reasons why we stayed for
such a long time there were, firstly, that Herr Moscheles
arrived there before us ; secondly, the occurrence of the
brilliantly celebrated October Festival ; and thirdly,
because Moscheles delayed his concert. Of the success
of this concert the enclosure will inform you. We gave
our first concert on the 17th of October, and as we were
not known it was not very well attended. However, we
had the honour that the kindest of kings and theiprincesses
came. The applause was immense, and I was asked im-
mediately to give a second concert, which took place on
the 24th. Here I will only briefly mention that it would
have been desirable that at the first concert the public
had been as numerous as the people who had to leave
this time for want of space, and at last we were compelled
to refuse money. A few enclosures will show the applause
Zizy* earned. Little as we had to do in the beginning,
after the first concert we became busy, and were honoured
from all sides by flattering proposals. For the third
time, after pressing demands of the directors, Plet Franzi
appear in the concert of the two violinists Ebner in the
Royal Theatre, where, amongst other things, giving way
to a generally expressed desire, he had to repeat your
variations in E flat, with orchestra. However, we had no
share of the proceeds, but established a never-dying
fame, and even the good king said, " It is very good of
you to have assisted those two."

We had twice the high honour to have audience of the
best of kings, and were received with distinguished grace
and kindness.

On the first occasion the king said, "And you, little
one, had the courage to appear after Moscheles ?" When
we were about to leave the good king said, " Come here,
little one, I must kiss you," and did it. I had tears in my
eyes. At the king's orders, letters of recommendation for
Strasburg and Paris were written, and some of them
handed over to us ; we may expect to be well received.
In the concert bills I had inserted " Pupil of Karl Czerny,"
and everybody seemed to be pleased, and had the desire
to become acquainted with this excellent master. From
different parties I was asked whether Herr von Czerny had
more of such pupils. I gave them the answer, that if
pupils were possessed of talent and diligence they might
attain the same degree of virtuosity under your thorough
and sage tuition. At Augsburg we arrived on the evening
of the 28th of October, and already on the 30th we gave a
little concert, which had been arranged at Munich. On
the 1st of November he played at the Harmonic Society.
The applause is general wherever we go, and we feel
already quite at home in Augsburg. To-day Zizy is
going to play, gratuitously, in a concert for the benefit of
some burned-out people, and to-morrow we go on to
Stuttgart. Although travelling and hotel expenses,
especially wine, are very dear, I have, after deducting all
expenses, up till now made a clear profit of 921 florins.
Also tit as much again we might have, if I had not to
see that we strive for reputation, by doing good to
others. Together with wife and child we kiss your
hands with the greatest thankfulness for the good work you
have done to our child. Never will you disappear from
our eternally grateful hearts, because we have only you to
thank for all this. Our greetings and kisses without end
to your good and kind parents ; daily, and almost hourly,
our talk is about you and your parents. Shortly they will
receive a letter from Zizy ; he is industrious, and is
writing a description of our journey for you, which he
commenced directly on the first day we left Vienna, and

* Zizy, a pet diminutive for Franz.

October I, 1S71.]

THE MONTHLY MUSICAL RECORD.

131

continues diligently. Of special interest to you may be
his diary ; he keeps it very industriously, and intends to
present it to you on his return. Here as in Vienna, ex-
perience shows that only excellent artists are likely to make
their fortune. Concerts are everywhere plentiful enough,
and music is played and loved passionately, particularly
the piano ; but with the exception of Mahir (Mdme.
Anna Laura Sick, known to the world under her family
name of Mahir — an excellent pianist, born on the 10th of
July, 1803, at Munich), at Munich we have not heard any
distinguished player. In all probability you will have to
receive a few pupils from these parts, who intend soon to
come to Vienna and take lessons from you. Your com-
positions are very much esteemed here, and whenever
Franzi is in company he must play works of yours. You
would do very well, and find a true pleasure, if you were
to pay a visit to the towns Munich and Augsburg, not
only on account of music, but also because of other
wonderful objects to be seen in great numbers. Everybody
is well educated here, and knows how to appreciate merit.
Often we have visited M — ■ — , but to me it appears as
if her playing had not improved, although she works,
composes, and philosophises untiringly. It would be
better if ladies left the latter alone. On one occasion she
is said to have extemporised, and made the public laugh.

The orchestra at Munich is excellent, and I have never
heard a better one. The gentlemen are also very obliging.
The B minor concerto by Hummel was done to perfec-
tion, and left nothing to be desired. Only a pity that the
theatre is too small.

Moscheles has outlived his fame at Munich ; one does
not speak of him with due esteem. I, for my part, must
say that he played his concerto unsurpassably ; but his
fantasia was empty, and I cannot call it a fantasia at
all. He has also lost much in esteem because he doubled
his prices of admission.

Pardon me for the great length of my letter, and also
for adding some requests, namely, to keep us kindly in
memory, and not to forget to send us the promised con-
certo of your composition to Paris. Although I intend to
trouble you with a letter from Strasburg, only when we
stay at Paris I shall give you my address. God grant
that what I have heard about Salieri is not true, and for
all that I should not like to be always in doubt, and pray
you therefore to let me have an explanation about it at
Paris. (At that time it was said that H of kapellmeister
Salieri had, when in old age he became weak-minded,
accused himself of having poisoned Mozart. Antonio
Salieri died shortly afterwards, on the 7th of May, in his
seventy-fifth year.) Again I beg you to keep me and
mine kindly in memory, and remain, &c, Liszt.

(The son added the following lines :)

My best Herr von Czerny, — I am in good health,
and up till now everything goes well with me ; I kiss your
and your mother's hands, and remain as usual, — Your
ever grateful Zisi, Franz Liszt.

( To be continued.)

VIOLETTA.

(TRANSLATED FROM ELISE POLKO'S "MUSIKALISCHE MAHRCHEN.")

" Em Veilchen auf der Wiese stand,
Gebiickt in sich, und unbekannt,
Es war ein herziges Veilchen."

A few hours' journey from Vienna lies a little village,
whose name I have forgotten ; but I think that matters
not, for there is but one such charming hamlet in the whole
world. A chapel stands on the rising ground ; wild roses
and ivy climb up its grey walls ; and the white, neat, low

houses, like pious worshippers, look meekly toward the
windows of the little church from the thick copse-wood.
The whole of the peaceful little place is surrounded by old
tall lime and chestnut trees.

But the cantor's house in the village was the loveliest of
all ; it lay apart from the other houses, and equally buried
in flowers. The old cantor tended these flowers as his
life's highest joy; and in the midst of all these roses,
violets, lilies, and tulips was the fairest flower grown up —
his little daughter Violetta. The faithful partner of his life
he buried when his child had reached her sixth year ; that
had indeed been the greatest sorrow of his life, which else
had flowed on as peacefully and quietly as a streamlet.
But he hada lso ever at his side a wonderful, mighty
comforter, who raised him with gentle hand above every
discomfort, every trouble ; who took him tenderly in her
arms when his faithful wife closed her eyes. This com-
forter was called Music, and was in fact the only mistress
of his heart, loved with passionate devotion.

Another valuable treasure he kept in the corner of his
sitting-room — an old spinet ; and it was here that the
cantor communed with the spirits of Bach and Handel,
held converse with the old Italian masters, and in his hap-
piness explored the magic kingdoms which they opened
before him.

Violetta found, indeed, that these conversations did not
always sound particularly beautiful ; the spinet often
rattled and buzzed meanwhile in a wonderful manner, and
her father's fingers, too, would sometimes not come quickly
enough to the right place ; but she took good care not to
say so, and sat by him quite still and amiable, with her
work. When the player at last stopped, at the highest
pitch of enthusiasm, and looked at her speechless but with
an inspired gaze, she nodded to him smiling, and kissed
him gently on the forehead. Then her father would tell
her what he knew of the old masters, and she would not
believe that the great sovereign in the kingdom of tones,
Sebastian Bach, wore an odious long peruke, and that
Master Handel took such quantities of snuff. She had
imagined such grand apparitions in the magic kingdom of
the world of sound quite otherwise, had painted for herself
pleasant clear pictures, which her father then so cruelly
destroyed. Almost every day the old cantor repeated the
same stories, and Violetta listened with the same quiet
attention, devotion one might almost say, as the first time,
and not a feature of her amiable face showed a trace of
weariness. But she, too, had also seen a famous com-
poser, the happy Violetta, and that she never forgot for a
moment : the people called him " Father Haydn." Vio-
letta's father always called him " his King," and in the
deepest depth of his heart glowed a reverence and love,
of the power of which the soul of his child had no sus-
picion.

As a little girl, her father had once taken her with him
to the great capital ; there in a grand church she had
heard some splendid music performed that they called the
" Seasons." The child's soul was deeply impressed by the
powerful masses of sound that streamed on her for the first
time ; and yet Violetta was so happy, so wonderfully moved.
She dreamed of " Spring ;" the glow of " Summer " breathed
upon her ; then the hunter's horns sounded cheerfully, and
reminded her of " Autumn ; " and as " Winter " came on,
she clung ever closer to her father. He, however, hardly
knew that his child was in the world. He sat by Violetta
and listened half breathless, and hij face with the large
dark eyes was, as it were, bathed in happiness ; he laughed
and wept. alternately. When all was over, he took his
child by the hand, and, without speaking a syllable,
pressed hastily out of the church. Outside stood many
people, old and young, men and women, and in their

132

THE MONTHLY MUSICAL RECORD.

[October I, 1871.

midst a slim elderly man, with a countenance like peace,
and a pair of eyes like heaven. "Father Haydn!" re-
sounded around. Violetta looked at him with shy reve-
rence and streaming eyes ; but Father Haydn had for
every one a friendly word or a pressure of the hand
and kind look ; smiles, gentle cheerfulness, and humour
moved, continually on his lips, and in his open coun-
tenanofc Then Violetta's father, too, pressed in his
plain *ack dress through the thick circle, and had
seized Haydn's hand before the latter was aware, and
cried v-kh half choking voice, " Thanks, Father Haydn ! "
And the master had pressed his hand, nodded and smiled
to him. All this Violetta had seen ; nevertheless, she had
to listen to the story of the occurrence almost every day :
it was the great event of her father's life. " If I were to
sec my King once more,'' he used sometimes to say, " I
should die of joy. Believe me, dear child ! when I held
that blessed creative hand in mine, I felt as if my heart
would burst ! "

One day, when the linden trees and roses were in bloom,
and the village had donned its gayest attire, it happened
that Violetta sat in the garden and dreamed, as she some-
times used to do. Her father sat reading in the arbour.
Suddenly a cheerful humming was heard from the garden
fence, and over the thick hedge, just behind the neat Vio-
letta, appeared a fresh, merry countenance that belonged
to a slim young man. He seemed tired, and carried a little
portfolio and a thick stick in his hand. He wore a small
black hat ; thick light-brown hair hung in disorder over his
head, and on his shoulder sat a tame starling. " Dear,
charming maiden, let me in," begged the stranger, and his
blue eyes begged even more than his words. Without, how-
ever, waiting for any other answer than Violetta's smile,
he sprang with a great bound over the hedge. The old
cantor hurried up ; Violetta laughed till the bright tears
ran down her cheeks ; but the young man had in this salto
mortale lost his portfolio ; note-books and pencils flew
about ; the starling cried " Misfortune on misfortune ! "
and chattered a crowd of Italian words all mixed together.

The bold leaper held out his hand to the cantor, and
said, " Dear Papa, you see here a young music-student
from Vienna, who has been running about all day to steal
melodies from the dear little birds in the woods ; but my
go-between here " — and he pointed to the starling, who
looked at him with knowing eyes — " has deceived me
shamefully, eaten all my bread, and scared away the
sweetest singers with his stupid chattering ; so I earnestly
beg you to modulate the minor tones of a sorrowful
stomach into the bold key of eat-major!" *

The merry speech pleased the old cantor uncommonly.
He forced his cheerful guest into the arbour, and Violetta
brought fresh bread, delicious milk and butter, cherries,
and fragrant strawberries. 1 he young man enjoyed it all,
and the starling too ; they ate and drank, as if for a wager,
man and bird ; and both chattered, too, as if for a wager.
Whenever the stranger made a joke, the starling repeated
i' ; and between whiles he continually cried out, " Holla !
Figaro, attention ! Figaro, attention !"

In an hour the dwellers in the little white house were as
intimate with their guest as if they had lived together for
years, and the old cantor began already to tell something
about the master Bach, to which he found a very attentive
listener in the youn£ music-student. At last the old man's
heart went out so fully towards this child-like, happy,
simple man, that he told him with an air full of secrecy,
and as if he were uncovering to him the most valuable
treasure, the story of the squeeze of the hand from Father

Haydn. Smiling and quietly the young man listened to
his tale ; when the old gentleman had finished, the other
on his side related, with moist eyes and gently tremulous
voice, how Father Haydn had even given him a kiss. But
that the cantor wo«ttti not quite believe, when at once
the starling, as if possessed, cried out, " The truth ! even
were it a crime ! " They took leave by the light of the
moon and stars ; then it first' occurred to the true-hearted
old man to ask after his guest's name.

" I am called Aniadeus," he answered, " and will very
often come again.3"

"Pray do," laughed the cantor, as he shook his hand;
" then you shall see my collection of music, a real treasure,
I can tell you !" Violetta gave the handsome Amadeus a
splendid nosegay of roses. He kissed her for it as gently
as a butterfly kisses a lovely flower ; and the starling
cried, " And so farewell ; we go away, and come again
another day ! " So away they went. For a long while
those who remained heard the pleasant duet of a merry
man's and bird's voice.

[To be continued?)

jforetffn Correspontwue.

* An imperfect attempt to render in English an almost untranslatable
German pin. The original is " in eifl kraftijes Esz-dur aufzulosen." — Tr,

THE BONN FESTIVAL.

(from our special correspondent. )

Leipzig, Sept., 1871.
To-day I can report little of note from our immediate
circle, and therefore I turn at once to that splendid
festival which took place on the 20th, 21st, 22nd, and
23rd of August at Bonn, the birthplace of Beethoven, as
a supplementary centenary festival of this greatest of all
German composers. Originally the festival was intended
for last year ; it was, however, postponed. Who could
have found in August, 1870, the rest of mind, the requisite
mental concentration which must be the first and most
important condition for the preparation of music per-
formances of such a grand nature as those just brought to
hearing at Bonn ?

That the festival was unique of its kind, that the most
wonderful and most difficult creations of Beethoven were
performed so brilliantly as, perhaps, never before, we
have to thank before all the experienced care and the
restless industry of Messrs. Hiller and Von Wasielewsky,
who were entrusted with the management. The combi-
nation of the different performers— chorus, orchestra, and
soli — was a fortunate one in every respect. As regards the
chorus, the choral societies of the neighbouring towns were
not invited in corporc, as had been done at the former
Rhenish music festivals ; but only the best and cleverest
singers of the Choirs of the Rhinelands, which are known
for excellence, were selected with care. They formed,
together with the choral society at Bonn, which is under
the direction of Herr von Wasielewsky, a chorus of about
one hundred soprano, ninety alto, seventy tenor, and ninety
bass voices.

Rarely or never did a better-trained choir — composed
of none but excellent voices — surmount more victoriously
and brilliantly the difficulties of the Missa Solennis, the
9th Symphony, and the fantasia with chorus, nor bring
them out clearer, more correctly and with more devotion
than was done on this occasion. If we only mention the
names of the solo vocal quartet t, we need scarcely add a
word of praise. Artists of the first class like Frau Otto-
Alvsleben (soprano), Frau Arnahe Joachim (alto), Herr
Vogl from Munich (tenor), and Schulze from Hamburg
(bass), will give also to those who have not been fortunate

October I, 1871.]

THE MONTHLY MUSICAL RECORD.

enough to be present at the festival in Bonn, the com-
pletest guarantee for 'the most reverent and expressive
interpretation of the difficult parts they had to render.

The orchestra, too, consisted of 1 1 1 artists, such as
have also never met together in such number and ex-
cellence for united performance. At the head of the
first violins stood Herren Strauss (from London) and
Koenigslbw (from Cologne). The remaining first violins
were in the hands of none but excellent leaders — not so-
called leaders, but such men as have acted in that capa-
city year after year, in the best orchestras of Germany.
It would lead us too far here to give our readers all the
excellent names, some of them highly famed, of which
this select orchestra was composed. We will, therefore,
only briefly mention that there were thirty-eight violins,
fourteen tenors, and fourteen violoncellos, to which twelve
basses formed a foundation. Flutes, oboes, clarionets, bas-
soons, and horns were doubled. The greater part of these
performers on wind instruments belong to the Hanoverian
Orchestra, and formed an ensemble which left nothing to
be desired as regards purity of intonation, fullness and
satisfactory quality of sound, accuracy, and brilliancy.

The first concert brought the Missa Solennis and the
5th Symphony by Beethoven. There is here no space
to go into details on these two works. Only one thing we
will mention, that a happier choice could not have been
made than the combination of these two giant productions.
The variety of ideas, of contents, and style of both works,
produced in totally different creative periods of Beethoven,
made it possible that the listener, notwithstanding the
emotions which hearing the Missa Solennis excited, was
still able to appreciate the everlasting beauties of the C
minor symphony.

The programme of the second concert brought first the
great Leonorc overture (No. 3), in which the entry of the
first violins, contrary to the direction given in the score by
Beethoven, was played by all the first violins, with a truly
admirable precision and brilliancy. Then followed the
march and chorus from the Ruins' of Athens. The gem
of the evening was Beethoven's violin concerto, rendered
by Joachim. We abstain from every further enthusiastic
remark about this wonderful revelation of Beethoven's
creation by Joachim. Words are, indeed, not sufficient
to characterise the impression which the educated hearer
received. The fantasia with chorus which followed
cannot be called in every respect a successful one. Herr
Halle from London had taken the piano part, and if we
duly recognise on the one hand the clear mechanism of
this virtuoso, we cannot at all agree with the interpreta-
tion both of his part of the fantasia, and also of the
concerto in E flat which he played on the following day.
The piano from Messrs. Broadwood and Sons, in London,
showed itself of insufficient power and fullness of tone for
the room, which, it is true, was very large. The Eroica
Symphony, which formed the close of the second concert,
was played excellently.

The opening number of the third concert was the
Coriolan overture, followed by the " Elegische Gesang,"
Op. 118, for solo quartett, with accompaniment of string
instruments. After the E flat concerto, played by Herr
Halk4, came the air, "Ah perfido " (transposed a note
lower), sung by Frau Amalie Joachim, with wonderful
pathos. The Egmont overture closed this part of the
concert, which brought as finale the 9th Symphony, in a
manner elevated beyond every praise.

Lastly, the fourth day brought chamber-music of
Beethoven, namely, the two string quartetts in F minor
(Op. 95) and c major (Op. 59), played by Herren Joachim
(first violin), von Koenigslbw (second violin), Strauss
(tenor), and Grutzmacher (violoncello). The names of

these distinguished quartett-players relieve us from the
necessity of expressing any praise. The quartetts formed
the commencement and the finish of the concert. After
the first quartett, Herr Vogl sang the " Adelaide," then
Hiller and Grutzmacher played the sonata for piano
and violoncello (Op. 69). These excellent performances
were followed by the songs, '; Wonne der Wehmuth " and
" Kennst du das Land/' rendered splendidly by Frau
Joachim.

To those who were fortunate enough to be present at
the Bonn Festival, the remembrance of all the high enjoy-
ments will always remain. For us nothing is left but
to express our hearty, deeply-felt thanks to those who,
with never-tiring industry, with noble inspiration and
full devotion, have assisted at these concerts.

MUSIC IN VIENNA.
(FROM our shccial correspondent. )

Vienna, 16th Sept.
The Opera has been very active since my last report.
The most interest was aroused by the gastspiel of Herr
Betz from the Hoftheater of Berlin. He began with the
role of Telramund in Wagner's Lohengrin, and had a
highly favourable reception. His voice, a veritable bari-
tone, is clear, sonorous, and flexible ; the interpretation
according to the modern school, every word distinct ;
besides this, Herr Betz proves himself an excellent actor
of the highest intelligence. He was called for many
times, and the whole opera went with spirit, under the
conductorship of Herr Herbeck. Not so well as on his
first evening was the reception of Betz in the next roles as
Wolfram (7'auuhuuser) and Don Jaan, the singing being
too luscious and, especially as Don Juan, wanting fire,
verve, and dramatic power. This was missed still more in
the role of Nelusco, which was represented by Herr Beck
more demon-like. In contrast to this, Bctz's farewell as
Hans Sachs in Wagner's Meistersinger has been a master-
work. All the pre-eminences of the intelligent singer were
united here as in a burning-reflector. Betz sang this part
as it was written ; yet the opera as a whole suffered under
it, as the cuts in the work were judicious, the opera being
too long. Herr Betz repeated the role on the 3rd September,
and was applauded and honoured in every way. Fraulein
Bosse sang, as gast, Elsa in Lohengrin with tolerable
effect ; likewise Eva in the Meistersinger. On the second
evening Eva was represented, for the first time and with
great success, by Frau Dustmann, the role never having
been given here with so much zeal and finish. The house,
being full in the extreme, took a great interest in the per-
formance, which again Herbeck conducted with energy
and skill. Another gastspiel has just been finished. Mdlle.
Murska, having performed Lucia and Lady Harriet
(Martha), has taken leave yesterday as Margarette of
Valois (Huguenots). She returns to England, coming-
back in winter. Boieldieu's Weisse Frau, not repre-
sented since February, 1868, was performed for the first
time in the new Opera-house. This fine opera has many
lovers who longed for it. Herr Walter, Draxler, Frau
Dustmann, Gindele were known from formerly. Dickson
and Jenny found a new and excellent representation by
Herr Tirk and Mdlle. Hauck. In Riensi Mdllc. Ehnn
has resumed her former part, the role of Adriano. Frau-
lein von Rabatinsky, who on the first representation of
that opera met with an accident, is still suffering, which is
a great loss, she being the sole Fioritura-singer of our
stage. Fidelio has been performed, the first time since
the Beethoven Festival ; Leonore represented by Frau
Dustmann. Besides the operas named, there were per-

134

THE MONTHLY MUSICAL RECORD.

[Octobei i, 1871.

formed since the 1 5th of August — Fra Diavolo, Postillion,
Schtvarze Domino, Troubadour, Afrikanerin, Romeo una1
Julie, Norma, Faust, Judin. The new ballet Fantasca,
by Paul Taglioni, surpasses in splendour and magnificence
all the former in the brilliancy of its ballets. The costs are
said to have reached the sum of 100,000 florins. Animals of
all kinds are there to be seen — a good lesson for children
of every age. Machinery, decorations, costumes make
a constant attack on the nerves of the spectator, the force
of the piece lying more in the ensembles than in solos.
The music, by Hertel, is of the better kind.

The Theater an der Wien takes constantly its turns
with the operettas Banditen, Grosshersogin, Doctor Faust
Junior, Rajah von Mysore, Blaubart, Indigo. Fraulein
Geistinger has resumed her activity as directress, actress,
and singer. Blaubart (the 140th representation) was for
the benefit of Offenbach ; Indigo (now produced forty
times), for the benefit of Strauss. Fraulein Bertha Olma,
who was a member of the Italian Opera in Covent Garden
last season, is now engaged as operetta-singer.

The Vaudeville Theatre, formerly the concert-room of
the Musikverein, has now changed into a " Strampfer-
theater." Herr Strampfer, who has quite rebuilt the
whole interior of the house, and embellished and enlarged
the room, opened the theatre on the 12th of September
with three little pieces — a drama {Die Arbeiter, by Hugo
M filler), a lustspiel {Eva im Paradies, by Weihe), and an
operetta {Dorothea, by Offenbach). The operetta pleased
very much, and two representatives, Herr Lebrecht, a
baritone, and Herr Schweighofer, an exquisite spieltenor,
found a very good reception. The new theatre, situated
in the midst of the inner town, has 28 boxes, 600 pit-
seats, and two galleries. The prices are rather high. It is
to be hoped that the director will be as fortunate as in
his former place as director of the Theater an der Wien,
for the new enterprise has cost him a good deal of money.
It is the sixth theatre which Vienna offers its inhabitants;
a seventh, the Stadt-theater, built by Dr. Laube, it is
said will be finished next year.

In the course of the winter we shall have three concerts
by Hans von Biilow, and two by Richard Wagner. Anton
Rubinstein, now director of the concerts of the Musik-
verein and its Singverein, will conduct some interesting
compositions, as the " Papae Marcelli" mass, by Palestrina ;
the cantata " Eine feste Burg," by Sebastian Bach ; the
double-chorus " Heilig," by Emmanuel Bach ; the new
oratorio Christus, by Liszt ; and the Verloretie Paradies,
by Rubinstein — quite enough to make the season as in-
teresting as any of its predecessors.

3fteimto&

The Works of G. F. Handel, printed for the German Handel
Society, wih year. Parts 32-34. Leipzig.

The most recent numbers of this superb edition of Handel's works —
the most complete and correct ever yet issued — contain some features
of special interest. They comprise the twelve Italian Duets, com-
monly called the "Chamber Duets," and the trios usually pub-
lished with them, which had been already edited by the now defunct
English Handel Society, as well as by Dr. Arnold ; the little-known
oratorio, Alexander Balus, and a volume of anthems. The
oratorio — which, like many of its companions, has been so long con-
signed to oblivion that we much doubt if it has been performed
within the memory of any one living — contains nevertheless some of
the old master's finest and most characteristic music. The opening
chorus, "Flushed by conquest," is remarkable for breadth and
boldness; and that which follows, "Ye happy nations round,"
besides being distinguished by its Oriental splendour, is noteworthy
for its effects of the choral unison with full harmony in the orchestra.

The grand chorus, "O calumny !" (in the second part) may be
compared to the well-known " Envy, eldest-born of hell" in Saul,
or to the equally fine "Jealousy, infernal pest " from Hercules,
while the fugues in the choruses "Sun, moon, and stars," and
"Ye servants of the Eternal King," are admirable specimens of
Handel's contrapuntal ability. As in most of his other oratorios,
the airs, as a whole, are not equal in interest to the choruses ; but
while many are old-fashioned, and to our modern taste tedious,
there are some gems (in what oratorio are there not ?). Such are
the bravura in the first part, " Mighty love now calls to arms," the
pastoral song "Here amid the shady woods," deliriously accom-
panied by the strings con sordini, and (our own especial favourite)
the simple and tranquil air near the end, " Convey me to some
peaceful shore." One more song deserves mention, not only from
its intrinsic beauty, but from the novelty of its accompaniment.
This is the soprano air, " Hark ! he strikes the golden lyre," which,
besides being accompanied by the usual stringed instruments,
has in addition parts for two violoncellos, two flutes, harp, mando-
line, and organ obligate It is very evident that the thinness of
Handel's orchestration, of which complaints are so often made,
was the result of systematic calculation, rather than of inability to
handle large resources. He reserved his fuller orchestra for excep-
tional effects — a course which some of his successors might imitate
with advantage.

The volume of anthems is even more interesting than the oratorio.
It consists principally of works for a three-part chorus with orches-
tra, composed for the Duke of Chandos. No less than four pieces
in this volume are printed for the first time. Among these is an
arrangement of the well-known " Jubilate," originally composed for
a full chorus (mostly in five parts) with a large orchestra. It is
here reduced for a three-part chorus and small orchestra ; and the
comparison of the two versions is full of interest to the student. In
an arrangement of the anthem ' ' As pants the hart " for a six-
part chorus (one of the previously unpublished pieces), we find a
point of special interest. We refer to the unison chorus for tenors
and basses (p. 255), the single example, as far as we are aware, in
Handel's works of a method of treatment frequently to be met with
in Bach. We have here the old Lutheran choral, " Christ lag in
Todesbanden," given out as a canto fermo by the chorus, and
accompanied by a fugue on an entirely independent subject in the
orchestra. Bach frequently employs the same device in his Church-
cantatas, but we know of no other instance of it in Handel. The
only fault to be found with this superb edition is that the pianoforte
accompaniments are so unequal in merit. In some of the volumes
they are very good ; in others they are somewhat meagre and
unsatisfactory. Still the series is a most interesting one ; though at
the present rate of progress it will probably be nearly, if not quite,
twenty years before it is complete.

Musik zu Schiller's " Wilhelm Tell," componirt von CARL
Reinecke. Op. 102. Partitur. Leipzig : Breitkopf & Hartel.

The subject of William Tell offers, from its picturesque situations
and surroundings, special attractions to the composer. It is not
surprising, therefore, that it should be frequently chosen for musi-
cal illustration. Besides the two operas by Gre"try and Rossini (as
complete a contrast to one another, it may be remarked in passing,
as could well be conceived) there are, we believe, several settings of
various degrees of merit, by German musicians, of the incidental
music to Schiller's play. Herr Reinecke's version, now under
notice, is evidently designed for the theatre rather than for the
concert-room. It consists of thirteen numbers, some of them —
such as the entr'actes — considerably developed, while others, in
accordance with the exigencies of the stage, are condensed into a
few bars. The work, as a whole, like most others from its com-
poser's pen, shows more talent than genius. It is admirably con-
structed, as might be expected from the known skill of its writer ;
and while some of the movements seem to us in reading slightly
dry, others are very interesting, and would on the stage doubtless
be thoroughly effective. The opening scene, " Es lachelt der See "
(in G, 9-8 time), is one of the best numbers ; the melodies are fresh,
and the orchestration charming. In character it recalls the deli-
cious introduction to the first act of Rossini's opera, in which the
situation is analogous, though in comparing the two we must give
the palm to the Italian master. No. 4, the pastoral introduction
to the third act, and No. 5, the song of Walther behind the
scenes, with an accompaniment for two oboes and two horns, are
also to be highly commended. • The music of the bridal procession
in the fourth act (No. 9), for a small wind band behind the scenes,
is very melodious and pleasing. The work on the whole may be
pronounced not unworthy of, though we do not know that it will
add much to, its composer's well-earned reputation.

October i, 1871.]

THE MONTHLY MUSICAL RECORD.

135

Deutscher Triumph- Mar sch, fur grosses Orchester, von, Carl
Reinecke. Op. no. Partitur. Leipzig : Breitkopf & H artel.
A VIGOROUS march, constructed on a broad though somewhat
commonplace subject, and instrumented with Herr Reinecke's usual
felicity. It suffers, to our thinking, from want of contrast, being
heavily scored, and with only one indication of piano, for two bars,
from the beginning to the end of the piece. We cannot consider
it by any means one of its author's most successful compositions.

Trio pour Piano, Violon, et Violoncelle, par Frederic Kiel.

Op. 3. Leipzig : C. F. Peters.
Trio (A dur) fur Piano, Violine, und Violoncell, von Friedrich

Kiel. Op. 22. Berlin : Simrock.
Trio jur Piano, Violine, und Violoncell, von Friedrich Kiel.

Op. 33. Leipzig : C. F. Peters.
Drei Quartette (A moll, E dur, G dur) fur Piano, Violine, Viola,
und Violoncell, von Friedrich Kiel. Ops. 43, 44, 50. Ber-
lin : Simrock.
In our last number we noticed some of Herr Kiel's larger works for
chorus and orchestra. We here meet with him on a different part
of the musical field, and can speak of him even more highly as a
composer of chamber-music than as a writer for the church. He
has not merely ideas of his own, but the power of developing them.
Those who have opportunities for the practice of chamber-music,
and who have exhausted the stores of the older masters, will thank
us for calling attention to these works, which will well repay study.
We find in them the same gradual development of their composer's
powers which we observed in his sacred music ; the quartetts being
as a whole superior to the trios. Herr Kiel writes exceedingly well
for all his instruments ; the pianoforte part, though not very easy,
is nowhere ungrateful to the player. Perhaps, on the whole, the
most interesting work is the third quartett, in G. The Andante
quasi Allegretto, in B major, is constructed on a graceful and origi-
nal subject ; and the final Presto in G, though in its rhythm and
general character recalling somewhat the finale of Beethoven's great
sonata in E flat (Op. 31, No. 3), is very vigorous and well sus-
tained. The rondo of the quartett in E (Op. 44) is another move-
ment which is especially good. Herr Kiel cannot, we think, be
ranked among the " Musicians of the Future." In saying this, we
of course mean nothing disparaging ; but simply intend to imply
that his works are distinguished by a clearness of form and absence
of mysticism which are not invariably to be found in works of the
modern German school. We shall look with interest for future
compositions from his pen.

The Piano Works of F. Mendelssohn-Bartholdy. Edited by
E. Pauer. Vol. I. London : Augener & Co.

We have here another, and most welcome, addition to the beautiful
octavo series of classical works which these publishers have been
for some time, and are still, bringing out. The present volume —
the first of this new edition— contains the whole of the published
compositions of Mendelssohn for the piano with orchestral accom-
paniments. These are the two concertos in G minor and D minor,
the Capriccio Brillant in B minor (Op. 22), the rondo in E flat,
dedicated to Moscheles, and the Serenade and Allegro Giojoso.
All these works are so well known as to render it superfluous to say
a word in their recommendation ; but we doubt not that many
pianists who only know them by name will be glad of the oppor-
tunity of procuring them in this cheap, portable, and most beau-
tifully printed edition. The tuttis are throughout printed in smaller
type than the solo passages— an advantage which the previously
published copies of at least one work (the concerto in G minor) did
not possess. The editing could not, it is almost needless to say, be
in more careful and conscientious hands than those of Mr. Pauer.

Franz Schubert's Songs. Edited by E. Pauer. Book 4. Twenty-
four Favourite Songs. London : Augener & Co.

To the three favourite sets of Schubert's songs, the appearance of
which has been previously noticed in these pages, a fourth has now
been added, which contains so many of the best-known and most
admired that it is likely, we imagine, to be the most popular of the
series. Perhaps even more than the preceding books, it illustrates
the wonderful versatility of its composer. Besides such popular
favourites as the " Erl King," the "Wanderer," the "Praise of
Tears," the "Young Nun," and the "Ave Maria," it contains
several less frequently heard, but certainly not less beautiful. Such
are the "Faith in Spring" (Friihlingsglaube), the exquisite
romance from Rosamunde, and the "Death and the Girl," the

theme of which is varied so finely in the composer's great quartett
in D minor. We doubt, however, the advisability of including the
well-known "Adieu" in the series; for, though found in some
German editions, and published under Schubert's name, it is now
generally admitted to be spurious. The English version is most
ably adapted by Mr. H. Stevens, who has also translated the
words ol the previous books, as well as of the collections of
Schumann's songs published by this firm. Mr. Stevens has ful-
filled his task so admirably, that we cannot help wondering why he
hides his light under a bushel, and does not allow his name to
appear on the title-page. He certainly has no need to be ashamed
of his workmanship ! It is much to be hoped that the publishers
will continue their series of these songs. Many of the very finest
have never yet been done with English words ; and the many
singers who are unfamiliar with the German language would be only
too happy to make their acquaintance. A most interesting volume
might also be made of the larger ballads, &c. , of which Schubert
has left so many admirable specimens, but which are entirely un-
known here except to the few enthusiasts who have in their libraries
the complete collection of the composer's songs. Such are the
' ' Viola " (which we are told was a special favourite with Beethoven),
the " Erwartung," the " Elysium," the " Ritter Toggenburg," and
others too numerous to name. Schubert and his publishers would
be alike honoured by such a volume.

Eighteen Easy Organ Pieces, by Dr. Carl Seeger, Op. 57 ;
Twenty Easy Organ Pieces, by Dr. Carl Seeger, Op. 58 (Offen-
bach : J. Andre'), are short and simple preludes in the style of Rink,
which are intended for divine service.

Fifteen Organ Preludes, by Georg Goltermann, Op. 64, is a
very similar collection to the last. There is so little in such pieces,
that it is nearly as difficult to review them as we should imagine it
must be to write them.

Three Four-part Songs, by Alex. S. Cooper— i, " Sweet Echo ;"
2, " O tranquil Eve;" 3, "Cheerily, cheerily" (London: Novello,
Ewer, & Co.), are simple and flowing specimens of a class of
composition at present very popular.

Songs illustrating the Intervals, by Henry C. Spencer ^Lon-
don : Augener & Co.), are very ingenious and pleasing. Though
evidently intended as exercises, there is a good flow of natural
melody about them, and they may be safely recommended for
young pupils.

Thellkley Wells House Galop, by E. H. (London : Schott & Co.),
contains on the title-page an engraving of what we suppose to be
the house in question. The piece is very pretty without, and
somewhat peculiar within.

Galop Militaire, pour Piano, parG. Steiner, Op. 19 (Offenbach:
J. Andre"), is a pretty and easy teaching-piece.

FrischcsLeben, Improtnptufur Pianoforte, von A. Blumenstengel
(Offenbach: J. Andre), is more difficult, more original, and we think
better than the last-named.

The Village Festival, Descriptive Piece for the Pianoforte, by
Brinley Richards (London: W. Morley).— When we find such
indications on a piece as " Invitation to the Village Festival,"
"Village Band at a Distance," "Village Festival Waltz," and
"Maypole Dance," we know pretty well what to expect ; nor in this
instance are we disappointed. For anything we can see to the con-
trary, the " Invitation " would have done just as well for the " May-
pole Dance ; " but that is a secondary consideration. The piece is in
Mr. Richards' usual style, and little girls who are just beginning to
learn the piano will be sure to be vastly delighted with it. We
recommend it to their governesses.

Le Lac, Romance for Piano, by W. C. Levey (London : W.
Morley), is a very graceful and elegant transcription of a melody by
Niedermeyer, which presents no great difficulties to the performer,
and if known is, we think, sure to be liked.

Why will composers persist in writing mazurkas? The form is a
most difficult one in which to obtain any novelty. We have before
us two — Hyacinth and Narcissus, by Edward W. Barber
(London : Duff & Stewart), and Rose Buds, by W. F. Taylor
(London : W. Morley), both of which are so like scores of other
mazurkas that we have met with, that it is really impossible to say
anything fresh about them.

Marchc Hcroique, Delirc de Joie, Ariel's Flight, by Edouard
Dorn (London: Augener & Co.), are the latest productions of this
clever and prolific writer, and are quite up to their composer's aver-
age—which is equivalent to saying that they are capitally adapted
for teaching, and pleasing to listen to.

Nocturne, pour Piano d quaire Mains, par Jacques Schmitt,

i.i'6

THE MONTHLY MUSICAL RECORD.

[October i, 1871.

Op. 114 (Offenbach : J . Andre), can be recommended to teachers as
a piece gracefully written, not difficult, and short.

Romance sans Paroles, four le Piano, par CARL LAHMEYER,
Op. 8 (London : Cramer, Wood, & Co.), is a piece of which the
design is better than the execution. It is by no means destitute of
merit, but the harmony in some parts needs revision, and gives an
unfinished effect to the composition.

.'/// thy works praise Thee, O Lord, Anthem for Harvest Thanks-
giving, by Irvine Dearnaley (Manchester: Forsyth, Bros.), is a
well-written composition, well suited for ordinary parish choirs, with
whom it is likely to find favour.

Aveline, Ballad, by W. F. Taylor (London : W. Morley), is one
of the " Christy Minstrel " ballads, and is in no perceptible respect
different from hundreds of other songs of the same class ; being
pleasing, melodious, easy — and commonplace. It is likely to be
quite as popular as many of its fellows.

Sing to me a ?nerry lay, Song, by George Linley (London : W.
Morley), is a pretty little sprightly melody, which makes no great
demand on either singer or player. Though merely a trifle, it shows
the hand of the musician.

The Daughter of Jephtha, Picturesque March (London: F. Pit"
m an.) — The modesty of the composer of this piece has prevented his
affixing his name to it, and thus has given no clue to his identity.
We have merely to remark upon it, that if this is the kind of music
with which Jephtha's daughter went out to meet her father, we are
only surprised that, instead of giving her a month's grace, he did
n ot order her for instant execution !

MUSIC RECEIVED FOR REVIEW.

Alsop, J. "Sunshine and Shade," Song. (Newton Abbot : J.

Chappie.)
Berger, F. " Serena, " Song. (London: Metzler & Co.)
Berger, /•'. "Throned in the Stars," Barcarole. (London:

Ollivier.)
Berger, F. " At Midnight," Song. (London: Ollivier.)
Chappell's Organ Journal, Nos. 9, 10. (London : Chappell & Co.)
Country Curate, A. Sanctus and Responses. (London :

Novello, Ewer, & Co.)
Dyer, IV. F\ "Baby, sleep," Lullaby. (Bristol: Dimoline.)
Gardner, C. Deux Morceaux Caracte'ristiques for the Pianoforte.

(London : Lamborn, Cock, & Co.)

Gardner, C. " Fairlie Glen," Andante Pastorale for the Piano-
forte. (London : Lamborn, Cock, & Co.)

Levey, W. C. "Boat Song" for the Piano. (London: W.

Morley.)

Macfarrcn, G. A. " The Dear Old Home," Ballad. London:

W. Morley.)

Sondermann, O. " Serenade," Song. (London: W. Czerny.)
Soudermann, O. " Violet," Song. (London: W. Czerny.)
Tours, B. " Huit Morceaux de Salon, pour Violon ou Violon-

celle, avec Accompagncment de Piano.'' (London : W. Czerny.)
Wedmcrc, F. T. " The Round of Life," Song. (Bristol : W.

Brunt & Sons.)

Concerts, Set*

GLOUCESTER MUSICAL FESTIVAL,

The 1481I1 annual festival of the Three Choirs took place at
Gloucester, on the 5th, 6th, 7th, and 8th of last month. According
to the usual custom at these meetings, the baton was held by the
organist of the cathedral in which the festival took place— on this
occasion, Dr. S. S. Wesley — the organists of the neighbouring
cathedrals, Mr. G. Townshend Smith of Hereford, and Mr. Done
of Worcester, presiding at the organ and piano respectively. The
principal vocalists were Madlle. Titiens, Madame Cora de Wilhorst,
Miss H. R. Harrison, Madame Patey, Miss Martell; Messrs. Vernon
Rigby, E. Lloyd, Bentham, Lewis Thomas, Brandon, and Signor
Foli. The band comprised the principal London instrumentalists ;
and the chorus consisted of the members of the Three Choirs, aug-
mented by singers from London, Birmingham, Bristol, and other
places.

The festival commenced, as usual, with a special service in the
cathedral, the sermon being preached by the Rev. Canon Tinling;
after which, at one o'clock, the first of the musical performances was
opened with Han,del's well-known overture to Esther. To this suc-

ceeded the ever-welcome Dcttingen Te Dcum, the grand choruses
of which were very satisfactorily given, while the solos received full
justice at the hands of Miss Martell, and Messrs. E. Lloyd and Lewis
Thomas. Mr. Harper's rendering of the important and difficult
solos for the trumpet was, as usual, a special feature of the perform-
ance. The first part of the programme closed with Mendelssohn's
hymn "Hear my prayer," for soprano solo, chorus, and orchestra,
the solo part being entrusted to Madame Cora de Wilhorst. A large
selection from Handel's Jephtha .(with Mr. Arthur Sullivan's clever
additional accompaniments) constituted the second part of the per-
formance. The principal solo parts were very finely sung by Madlle.
Titiens, Madame Patey, Mr. Vernon Rigby, and Signor Foli, the
subordinate parts being efficiently filled by Miss Martell and Miss
H. R. Harrison. The superb choruses contained in the work suf-
fered considerably in places from want of sufficient rehearsal. The
evening performance of the first day of the festival included the first
and second parts of Haydn's Creation, and the greater part of
Handel's Israel in Egypt. Space will not allow us to enter into de-
tails ; it is sufficient to say that the choruses were effectively given,
while the solos, in such hands as those of the performers already
named, left nothing to be desired.

Wednesday morning's performance was devoted to Mendelssohn's
Elijah — a work without which no country festival seems to be com-
plete. The choruses, being much more familiar to the singers than
those of Jephtha, went proportionately better. The soprano music
was divided between Madame Cora de Wilhorst (for the first part)
and Madlle. Titiens (for the second); the alto similarly between Miss
Martell and Madame Patey; while Messrs. Bentham and Vernon
Rigby shared the tenor solos between them, and the entire part of
the Prophet was extremely well sung by Signor Foli, though lying in
some passages almost too high for his voice. Of a work so well
known it is needless to say more than that the entire performance
was satisfactory.

On Wednesday evening, the first of the Miscellaneous Concerts in
the Shire Hall took place. The first part of the programme was
chiefly devoted to a performance of Handel's Acis and Galatea, with
Mozart's additional accompaniments — considerable excisions (in-
cluding that of the entire part of Damon) being made. The parts
of Galatea, Acis, and Polyphemus were sustained respectively by
Madlle. Titiens and Messrs. Vernon Rigby and Lewis Thomas.
The lady sang as finely as she invariably does ; while Mr. Rigby
gave especial effect to " Love sounds the alarm," and Mr. Thomas
narrowly escaped an encore for his spirited rendering of " O ruddier
than the cherry." The choruses were, on the whole, well sung,
though the finest of all — " Wretched lovers " — suffered from being
taken too fast. The principal feature of the second part of the
concert was a selection from Weber's rarely-heard music to Prcciosa.
The overture and the Gipsy Chorus are familiar to concert-goers ;
but the remainder of the work, though containing some of its
author's most characteristic thoughts, is seldom performed in public.
Besides the charming ballet -music, and the various choruses, the
selection comprised the lovely air, " Lo, the star of eve is glancing"
(" Einsam bin ich nicht alleine "), sung by Miss Harrison.

The chief fault of the Thursday morning's performance was its
excessive length. Besides Bach's grand Passion, according to
Matthew, it included Mr. Cusins' new oratorio Gideon, and a selec-
tion from Spohr's Calvary. The first-named work suffered inevit-
ably under the conditions of its production, from the impossibility
of the requisite number of rehearsals for music of such extreme
difficulty. Still, making allowance for this, the performance was
one that reflected great credit on the conductor, who deserves the
thanks of all musicians for venturing to produce this too seldom
heard masterpiece. The chorals were, according to the composer's
intentions, accompanied by orchestra and organ ; the grand one
which concludes the first part — "Oman, thy heavy sin lament" —
not being omitted, as it was in recent performances in London.
The solo parts were efficiently sung by Mesdames Cora de Wilhorst
and Patey, Messrs. Lloyd, Brandon, and Signor Foli. Mr. Lloyd
deserves special mention for his excellent rendering of the very trying
recitatives allotted to the Evangelist.

Of Mr. Cusins' Gideon our space will not allow us to speak in
detail ; nor is this necessary, as we understand it will probably ere
long be given in London, where it wi'l doubtless be heard to
greater advantage. Suffice it to say that, without displaying any
special individuality of style, it is very effectively written both for
soloists and chorus ; the instrumentation is brilliant, and the work,
as a whole, full of promise. The principal solo parts received full
justice from Madlle. Titiens, Madame Patey, Mr. Vernon Rigby,
and Mr. Lewis Thomas.

The Thursday evening concert, in the Shire Hall, brought for-
ward a large selection from Mozart's Figaro as the first part of
the programme, the second part being miscellaneous. Among the
pieces performed we can only specify the well-known "Jupiter'

October i,i8y«.] THE MONTHLY MUSICAL RECORD.

i37

syniphonv, and Mendelssohn's Rondo Brillant in E flat, capitally
played by Miss Agnes Zimmermann. The festival was brought to
a successful close by the performance of the Messiah in the cathedral,
on Friday morning, in which all the principal singers took part.

A series of Promenade Concerts has been given at the Covent
Garden Theatre during the past month, under the direction of
M. Riviere. As they have in no essential respect differed from the
similar entertainments in preceding years, and have no special points
of artistic interest, it is unnecessary to do more than mention them.
" Classical " evenings, in which the first part of the programme has
been selected from the works of Beethoven, Weber, Mendelssohn,
&c, and selections of sacred music, have diversified the entertain-
ments. For the higher class of music, Mr. Arthur Sullivan has
officiated as conductor.

inventor of railways, and that is why the Festival is held." On her
mistress explaining to her that Beethoven was the greatest of
musicians, she answered, " Well, at all events, I am glad that_cook
was wrong too ; for she declared that he was a great general!"

Organ Appointment.— -Mr. T. Stodart Beswick, to Holy Trinity
Church, Bingley, Leeds.

TO CORRESPONDENTS.

All communications respecting Contributions should be addressed
to the Editor, and must be accompanied by the name and address
0/ the writer, as a guarantee of good faith.

The Editor cannot undertake to return Rejected Comm unica-
tions.

Business letters should be addressed to the Publishers.

The Organ performances, by distinguished foreign organists and
Mr. Best,' have been continued at the Albert Hall during the past
month. The Continental players who have appeared have been
M. Saint Saens, from Paris ;' Hen- Lindemann, the Norwegian
organist (whose whole week's programmes included only one name
— his own !); Herr Lux, from Hesse ; Herr Tod, from Wurtemburg ;
and Herr Henrici, from Baden. It has been suggested to us that
it would be very interesting to organists if we would publish the
programmes of the recitals. We should have been most happy to
do so, but our space will not allow it. Those who wish, however,
to obtain them, will find them complete in the columns of our
excellent contemporary, the Choir.

iHus'fral ^otes.

"THE MONTHLY MUSICAL RECORD."

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The Saturday Concerts at the Crystal Palace were resumed on the
30th inst. We shall give particulars in our next number.

We understand that the adoption of the French diapason at the
Royal Italian Opera next season has been definitely resolved upon,
and that the players will be required to provide themselves with in-
struments of the altered pitch.

AT St. James's Hall, on the nthult., Mr. Santley gave a fare-
.well concert — the programme consisting chiefly of ballads, &c. —
previous to his departure for America.

Mr. Ridley Prentice, whose Classical Concerts at Brixton last
season will be remembered by many of our readers as being specially
interesting, has just issued his programme of the coming series.
Among the novelties and revivals promised are a prelude, fugue,
toccata, and berceuse for the piano, by F. W. Hird ; Hummel's
duet-sonata in A flat (one of its composer's finest works, though
seldom heard in public) ; a sonata by Paradies ; Prout's pianoforte
quartett in C ; Rubinstein's sonata in A minor for piano and violin ;
and Silas's quintett for piano, concertina, violin, viola, and vio-
loncello.

Mr. Horton C. Allison has just completed the composition
of a new oratorio, entitled Prayer, the words of which are taken
from St. Matthew's Gospel.

Julius Stern, the well-known conductor of the Symphony Con-
certs at Berlin, has resigned his post in consequence of ill-health.

Liszt has just completed the composition of his new oratorio,
Christus; which consists of three parts and fourteen subdivisions —
"Characterbilder," as their author entitles them. These are— 1. In-
troduction ; 2. Pastorale, and Annunciation by the Angels ; 3.
" Stabat Mater Speciosa ;" 4. Song of the Shepherds at the Manger ;
5. The Wise Men of the East ; 6. The Beatitudes ; 7. Pater Noster ;
8. The Founding of the Church ; 9. The Storm on the Lake. 10.
The Entry into Jerusalem ; n. " Tristis est Anima Mea ;" 12.
"Stabat Mater Dolorosa;" 13. Easter Hymn; 14. "Christ ist
Erstanden." Our Vienna Correspondent informs us that the work
will be produced in that city under the direction of Rubinstein.

Max Bruch's new opera, Hermione, founded on Shakespeare's
Winter s Tale, will shortly be produced at Leipzig.

The Leipzig Signale tells a good story about the recent Beethoven
Festival at Bonn. The housemaid of a well-known professor there
came to her mistress while the Festival was in progress, and said,
' ' Please excuse my asking a question. Cook and I have been dis-
puting about who Beethoven was : I maintain that he was the

/^OLLEGE OF MUSICIANS, Shaftesbury Hall,

V_, Aldersgate Street. President— \V . J. R. Cotton, Esq., Alderman.
Vice-Presidents— VJ. S. B. Woolhouse, Esq., F.R.A.S., &c, and Robert
Barton, Esq. The Choir meets for practice every Saturday, at 8 p.m. ;
the Orchestra every Monday, at the same time.

A Prospectus and further particulars may be had of the Secretary, at
the Hall.

EDUCATION IN FRANKFORT- ON -THE-
MAINE. Principal, G Homrurg. The Establishment is situated
close to the fine Promenade, and combines the advantages of a comfortable
Home with a sound Classical and Commercial Education. Gymnasium and
Playground adjoining, as well as Swimming-Baths, &c. Terms moderate.
Prospectuses to be had from Messrs. AfGENERjt Co^, 86, Newgate Street.

A LITHOGRAPHER AVANTED— one who is
accustomed to do large and bold Writing preferred.
For particulars apply to L., 86, Newgate Street.

Just published.

/COMPLETE CATALOGUE of all PIANO-

V_^ FORTE MUSIC published by Augener & Co. up to this day.
To be had gratis on application, or by Post for One Penny.

A UGENER &TcO.'S CATALOGUES.— To be

l\. had gratis on application, or if sent by Post, One Penny each.
Part I. Violin, Tenor, Violoncello, and Flute Music.
,, II. Piano, Harmonium, and Organ Music.
'„ III. Vocal Music.
, IV. Economia. Green Catalogue of N. C. Works.

V. Catalogue of Augener & Co.'s 1,000 Cheap Musical Works,
and of Peters' Cheap Editions.
VI. Catalogue of all (1,212) Works of Beethoven, Original and
Arrangements. , .

„ VII. Catalogue of all (1,756) Works of Mozart, Original and Ar-
rangements.

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TN Commission bei C. Gerold in Wien ist erschie-

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Y HEART THE EOLIAN HARP RE-

SEMBLES." Song. By Sir Jules Benedict. Sung by
Madame Pauline Lucca. Price 3s.

London : Augener and Co.

"M'

138

THE MONTHLY MUSICAL RECORD.

[Oetober I, 1871.

REDUCTION IN PRICE OF

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BEETHOVEN.

26 Sonatas for the Pianoforte Solo. Edited by F. Liszt.

2 Vols. ...

20 Variations. Edited by Liszt

Volume containing rest of Piano Solo Works, and all

Piano Duets

14 Duets far Piano and Violin. Two Vols

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13 Complete Piano Trios (Score and Parts)

17 Violin Quartetts. Edited by Liszt. Score

„ ,,. „ Parts

The Same, arranged for Piano Duet

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CLEMENTI.

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29 Piano Solo Works. Two Vols

6 Piano Duets. One Vol

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Rest of Piano Solo Works, and all Piano Duets

15 Symphonies. Pianoforte Solo. By Markull

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29 Piano Works. Two Vols.

Complete Piano Duets. Two Vols.

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No. i. Handel. Chorus, "Ye Boundless Realms of Joy" (nth Chandos
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2. Mozart. Andante from the Pianoforte Concerto in A, No. 10.

3. J. S. Bach. Ghorus, "Nun lob', mein' Seel, den Herrn," from

the Church Cantatas.

4. Dussek. Andante from the Pianoforte Sonata in D major, Op. 13,

No. 2.

5. Graun. Choral Fugue from " Der Tod Jesu."

6. J. S. Bach. Aria, " Schlage doch, gewlinschte Stunde," from the

Church Cantatas.

7. Handel. " Crown with Festal Pomp the Day" (Hercules).

8. Clementi. Adagio from the Piano Sonata in G minor, Op. 34, No. 2.

9. Haydn. Chorus, " Quoniam tu solus," from the 6th Mass.
10. Mozart. Andantino from Piano and Violin Sonata in B flat.

n. J. S. Bach. Choral Fugue, " Kyrie Eleison," from the Mass in B
minor.

12. Beethoven. Adagio from the Sextett, Op. 71.

13. Handel. Fugue from the 2nd Oboe Concerto.

14. Handel. Air, " O Sleep, why dost thou Leave Me?" (Semele).

15. J. S. Bach. Chorus, " Aller Augen warten, Herr," from the Church

Cantatas.

16. Mozart. Andante from the Violin Quartett, No. 7.

17. Graun. Choral Fugue, "In te Domine, speravi," from the "Te

Deum."

18. Cherubini. "Cum Sancto Spiritu," from the 2nd Mass.

19. J. S. Bach. Aria, "Qui sedes," from the Mass in B minor.

20. Beethoven. Adagio from the Piano and Violin Sonata, Op. 96.

21. J. S. Bach. Chorus, " Herrscher des Himmels,'" from the Christmas

Oratorio.

22. Handel. Chorus, " He saw the Lovely Youth" (Theodora).

23. Beethoven. March and Chorus from the " Ruins of Athens."

24. J. S. Bach. Chorus, " Christen, atzet diesen Tag," from a Church

Cantata for Christmas Day.

ORGAN MUSIC.

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to be had at reduced prices.

Collection of the best and most effective ancient and modern Fugues,
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Fugues by John Bennett, Dr. Arne, Cat's Fugue by Scarlatti, and 3 Fugues

by Eberlin.
HANDEL, G. F., Six Fugues or Voluntaries. Op. 3. Arranged £ s, d.

for the Organ, with Pedal Obligato by James Higgs o 6 o

■■ Five Fugues from the " Suites de Pieces pour

le Claverin." Arranged for the Organ, with Pedal Obligato by

James Higgs

HILES, J. Six concluding Voluntaries. Selected from the Works
of Classical Authors : —

1. " Quoniam tu Solus" (From Op. in) Hummel

2. O Lord, in Thee have I Trusted (Chorus from

" Chandos Te Deum") Handel

3. Amen (from Stabat Mater) Rossini

4. Storm Chorus (Seasons) Haydn

5. Marvellous, Lord, are Thy Works (Seasons) ... Haydn

6. Oh Thou Eternal God (Crucifixion) Spohr

SPOHR. Grand Final Chorus from "The Last Judgment"

(Great and Wonderful are all Thy Works). Arr. by E. Clare

4 6

November i, 1871.] THE MONTHLY MUSICAL RECORD.

i39

NOVEMBER 1, 1871.

THE MUSIC OF OUR CHURCHES.

A GREAT deal of discussion has lately taken place in the
columns of some of our contemporaries, as to what music
is proper to be sung in our churches at Divine worship.
The subject is a very wide one, and, we need scarcely
add, quite beyond the limits of a single article. All that
we purpose now is to throw out a few hints on this im-
portant subject, which may furnish materials for thought
to our readers.

There are two different ways in which the service
may be performed. It may be chiefly, if not entirely
entrusted to a paid choir — the congregation joining at
most in one or two hymns. Such is the method pre-
vailing at our cathedrals, and at some of our larger
churches ; and also to a considerable extent in America.
Or the singing may be congregational — the choir, where
there is one, serving merely as an aid in leading the whole
body of voices. There is much to be said for both
methods. Into their relative suitableness for the purposes
of worship, it is not our province to inquire, though we
see no reason why a full choral service reverently per-
formed may not be as truly an act of worship as the
psalm-singing of a large congregation. Much will depend
on the temperament and education of the hearer. We
are concerned merely with the musical aspect of the
question ; and from this point of view it would be much
to be regretted, should the glorious services and anthems
of our English composers cease to echo through the aisles
of our cathedrals.

Nor, where adequate resources are available, would we
exclude the mass music of the great masters — singing
them, of course, with English words. Many of the masses
of Mozart, Haydn, Cherubini, and other distinguished
composers, are as devotional, and as strictly sacred music,
as the anthems of Croft or Gibbons. We are well aware
that in expressing these views we run the risk, with a
certain class, of laying ourselves open to a charge of
Romanist proclivities. There has been a great outcry
raised on this subject, in consequence of the recent intro-
duction into some of our leading London churches of
mass music. The clergy and the precentors have been
accused of Papistical tendencies. But the charge is
hardly worth refuting ; for a moment's consideration will
show the absurdity of making it on such grounds. It
must be remembered that every word which is usually set
to music in the mass, is to be found literally translated in
the Communion Service of the Book of Common Prayer.
Those portions of the music, the words of which embody
or imply the tenets peculiar to the Romish Church, such
as the hymns " O salutaris," " Salve Regina," and others,
must be sought elsewhere. And why it should be for-
bidden to sing the words of the " Gloria in excelsis" or
the Nicene Creed to the music of Haydn or Mozart, when
the very same words may be sung without demur to the
perhaps second-rate music of an English composer, we
are quite at a loss to see.

But while we by no means condemn the more elaborate
musical ritual in its proper place, we yet maintain that in
the majority of cases a plain, hearty, congregational
service is preferable. We have already said that we do
not consider this the place to discuss the religious aspects
of the question ; but we may just remark in passing, that
we do not see how the Scriptural exhortation, " O praise
II

the Lord, all ye people," can be said to be obeyed, if the
people merely pay a choir to praise the Lord for them.
And if it is admitted, as we think it must be, that the
whole congregation should take part in the service of
praise, there are two or three requirements which must be
complied with, that it may be in their power to do so.
And first, the music must be so simple as to be within the
reach of all — even the musically uneducated. But sim-
plicity need not imply baldness or vulgarity. Some of
the noblest and grandest of our church melodies are also
among the easiest to sing ; and collections of church
music might be named without difficulty, which, while
containing nothing that is coarse, mean, or irreverent,
also contain nothing that is inaccessible to a mixed
congregation. Moreover, it is not sufficient that the
music should be simple enough to be joined in by all ; it
is also necessary that all should be encouraged, nay
urged, to take their part in it. Into the vexed question
of the relative merits of unisonous and part-singing, we do
not propose now to enter ; but, whichever method is
adopted, care should be taken in its preparation for
service. We contend that slovenly singing is just as
offensive and indecorous as an ill-prepared sermon. In
this matter much depends upon the organist, and even
more upon the minister of the church. We are fully con-
vinced that exactly in proportion to the personal interest
taken by a minister in the music of his church, will be the
attention bestowed upon it by his congregation. In recent
numbers of our excellent contemporary the Choir, accounts
were given of visits to two of the principal Congregational
churches in London, in which special attention has been
paid to the music. In both cases, the minister of the
church has taken an active part in the promotion of good
psalmody ; and at each place the result has been to secure
earnest, hearty singing, such as is alike delightful and
profitable to hear and to join. We earnestly recommend
all the clergy who would have their church music efficient,
to show their congregations that they consider praise no
less an important part of Divine service than prayer or
preaching. Where the shepherd leads, the sheep will
soon follow.

URIO'S "TE DEUM," AND HANDEL'S USE
THEREOF.

BY EBENEZER PROUT, B.A.

It has long been known to musicians that Handel in
composing drew largely for his themes on the works of
his predecessors and contemporaries. Indeed, whenever
an idea suited him, he seems to have had no scruple in
appropriating it ; though it may truly be said of him, "He
touched nothing which he did not adorn." One of the
works most frequently referred to as a source from which
Handel obtained his subjects, is the Te Deiim by
Francesco Antonio Urio. Df. Chrysander, the well-
known musical critic and antiquarian, has just published
a beautiful edition of the full score of this work, which is
of extreme interest to musicians. It is almost impossible,
without seeing this Te Deum, to believe how unblush-
ingly Handel took subjects — sometimes even whole move-
ments— from it. I confess that in reading the score I
have been both amused and astounded ; and it will
probably interest my readers to give a short analysis of it,
with quotations of the chief passages which Handel has
transferred to his own works.

To begin with— the resemblance to the Dettingen Te
Deu7n strikes us on the first page. Like that work, Urio's
Te Deum is in the key of D, for five-part chorus (with two
soprani), and a very similar orchestra to Handel's — the

140

THE MONTHLY MUSICAL RECORD.

[November I, 1871.

only important difference being that there are but two
trumpet parts, instead of three, and there are no drums.
Urio's opening symphony Handel used in two places —
the first four bars in the chorus "Welcome, welcome,
mighty king," in Saul, and the four following at the com-
mencement of the Dettingen Te Dcum. . Urio begins
thus : —

The resemblance of this extract to the passages from
Handel referred to will be seen at a glance. A little
further on in the same symphony (page 7) occurs a striking
sequence of harmony, which Handel used in his Te Deum
at the words " We acknowledge thee to be the Lord,"
while just before the first entry of the voices is a passage
of four bars which is to be found, almost note for note, in
the chorus in Saul, " Gird on thy sword," at the words
" Shall thine obdurate foes dismay." Space will not allow
the quotation of all these extracts, but one immediately
succeeding is so striking that room must be spared for it.
It is a duet for altos and tenors : —

-\ Alto. _

Those of my readers who are familiar with Saul will at
once recognise "The youth inspired by Thee, O Lord ;"
nor does the resemblance stop here. Just as in Handel,
the passage is repeated in the fifth above, in the following
bar.

But to pass on to the next movement, " Te eternum
Patrem." Here the resemblance — one must really say
the pillaging — is yet more remarkable. The opening
symphony is to be found, almost note for note, at the same
place in Handel's Te Deum.

fg^s^^^^=A^H^^

Nearly every note of the rest of the entire movement
has been transferred to Handel's score. The ''omnis
terra " is repeated here in the same detached phrases that
he used on the words " all the earth." The following air,

" Tibi omnes Angeli," though exactly in Handel's manner
throughout, has not been appropriated bodily like the
preceding chorus. But then comes another startling
passage— the opening of the chorus "Tibi Cherubim et
Seraphim," for two trumpets soli.

H2 P£^

K=S

gy^gjgjgjl^i^g^

This passage is repeated (just as in Handel) after the
first entry of the voices, for oboes and bassoons. But
here the resemblance ceases. Handel's wonderful iteration
of the "continually, continually," and the grand monotone
of his " Holy, holy " combined with it, are all his own.
Nothing is to be found in Urio's work which at all ap-
proaches in power the old Saxon's marvellous creation.
Yet it is curious that with such exhaustless invention as
he possessed, he should have so coolly transferred entire
passages to his own work. No composer in the present
day would dare to do so, and it throws a singular light
on the views of artistic morality which must have prevailed
a hundred years ago. In the chorus now under notice,
there is still another phrase which Handel has taken.
The short fugato on the words " incessabili voce " is
found in the Dettingen Te Deum, at " also the Holy
Ghost, the Comforter." The first thought of the same
chorus, " Thine honourable, true, and only Son," is to be
met with here at the " Sanctus," for two trebles and an
alto. Passing by the following soprano air, " Pleni sunt
coeli," with the remark that a passage on page 40 of the
score would seem to have suggested the phrase " also are
fallen" in the well-known duet from Israel in Egypt,
" The Lord is a man of war," we come to the chorus " Te
gloriosus." The introductory symphony of this piece was
used in the chorus " To thee all angels " of Handel's Te
Deum. The first two bars will be sufficient as a specimen :

Oloi.

Z&Wr

z*T

Handel has copied this, even to the non-employment of
the double basses.

The next passage of importance which Handel has used
is the subject of the chorus "Sanctum quoque para-
clitum," which is identical with " Our fainting courage "
in Saul. It commences thus : —

So/>. 1

To save space, the words are omitted. The fine counter-
subject which Handel added to the words " And headlong
drove that impious crew," which changes the character of
the whole piece, is not to be found here. A little further
on (page 73 of the score) is to be seen, in the opening sym-
phony of the alto song " Tu ad liberandum," the subject

November i, i87i.] THE MONTHLY MUSICAL RECORD.

141

of the instrumental movement in the third part of Saul,
representing the battle on Mount Gilboa. The following
chorus, "Tu devicto mortis aculeo,"has, Avith the exception
of the first eight bars, been taken by Handel for his Te
Deum, almost note for note, in the chorus " Thou didst
open the Kingdom of Heaven." A short extract will show
this :—

Sop. i, 2.

-J--I— d^ J***^ — I v— N 1 — ^3 , 1 i— i— r — — ( i .i. i--.

^^^^

:&S

^^=5^^^^fe^

Ten

1 —

:^S

t=ta

&c.

The trio "Thou sittest at the right hand of God" is'also
largely borrowed from Urio's work, in which the corre-
sponding Latin words are set as a trio. There is
moreover a curious similarity in the close of the two pieces,
which in each case consists of a few bars, adagio, accom-
panied by the organ only.

The chorus "Te ergo quaesumus" supplied' Handel
with the commencement of the chorus " O fatal conse-
quence " in Saul, the remarkable subject of which is taken
note for note from Urio's " Quos pretioso sanguine."

Most of our readers will remember the striking passage
in Handel's chorus "All the earth doth worship Thee," in
which the bass voices sing " The Father everlasting,"
accompanied by the violins in thirds. Here is its origin
in the duet " Eterna fac " of Urio : —

Tromb. 1 1 I 1

HHes

Bassi.

The chorus " Per singulos dies " gives us, with hardly
the variation of a note, the subject of Handel's fugue
" And we worship Thy name."

-M

rrf-Tfrr :L-r=r1L.

Here again Handel has, in the subsequent development,
greatly improved upon his model, especially by the addi-
tion of the brilliant coda with which his chorus concludes.
Urio's soprano song "Dignare," which follows, does duty
in two places in the Dettingen Te Deitm. The opening
solo for the trumpet is introduced with very slight altera-
tion in " Day by day," and a passage in thirds for voice
and trumpet is used in the same chorus, merely with the
substitution of the alto voice for the soprano, and the
change of the intervals from thirds to sixths and tenths.
Inthe air "Fiat misericordia" for alto solo, there is a
figure in the violin accompaniment which plays an im-

portant part in Handel's song "Sweet Bird" from
U Allegro j and lastly, the concluding chorus " In ter
Domine, speravi," supplied the subject of the fugued
passage in the final chorus of Saul, " Gird on Thy sword,"
at the words " Retrieve the Hebrew name."

In this somewhat cursory analysis no mention has been
made of many merely passing resemblances to Handel,
though some of these are so striking that it is difficult
to consider the coincidence accidental. I have purposely
noticed merely the more important points, about which
there can be no doubt whatever. In counting them up, it
will be found that no less than nine movements in the
Dettingen Te Deum, and six from Saul, are founded wholly
or in part on themes taken from this work. It should be
added, that the passages which are merely referred to are
quite as striking in their similarity as those of which the
notes are quoted.

According to the title-page, Urio's work dates from
about the year 1700, being thus anterior to Saul and the
Dettingen Te Deum by some forty years. Very little is
known of the composer, indeed his name is not even-
mentioned in some of the best musical dictionaries. The
late Vincent Novello, in calling attention to the fact of
Handel's borrowing so largely from the work, said, " Handel
found a pebble, and changed it into a diamond." Perhaps;
it would be more just to say that he found a rough
diamond, which he cut and polished. It is with no idea
of disparaging Handel that I have compared the two
works, but simply because it seemed likely that such
comparison would be exceedingly interesting ; and I have
given numerous quotations, because the way in which
Handel has appropriated Urio's thoughts is so extra-
ordinary, that 1 might have been thought to exaggerate
had I not given my readers the opportunity of judging
for themselves.

THE SYMPHONIES OF BEETHOVEN,

BY HECTOR BERLIOZ.

(Continued from p. 128.)

6. THE PASTORAL SYMPHONY.

This astonishing landscape seems to have been com-
posed by Poussin, and drawn by Michael Angelo. The
author of Fidelio and the "Eroica" symphony wishes to
paint the* calm of the country, the gentle habits of the
shepherds. But, be it understood, we have not to do with,
the pink and green shepherds, decked out with ribbons,
of M. de Florian, still less with those of M. Lebrun, the
composer of the Rossignol, or with those of J. J. Rousseau,,
composer of the Devin du Village. It is with nature
we are dealing here. He entitles his first movement,
" Cheerful emotions awakened by the aspect of a smiling
landscape." The herdsmen begin to move about in the
fields with their careless gait, and their pipes that we hear
far and near ; ravishing phrases caress you deliciously,
like the perfumed breeze of morning ; flights, or rather
swarms of" twittering birds pass over your head, and from
time to time the atmosphere seems charged with vapours ;.
great clouds hide the sun, and then suddenly dispersing,
let fall perpendicularly on the fields and woods torrents,
of dazzling light. That is what I imagine when listening to-
this movement, and I think that, in spite of the vague
expression of instrumental music, many hearers have
been impressed by it in the same manner.

Further on is a " Scene by a brook." Contemplation
. . . The author has no doubt created this admirable
adagio as he lay on the grass, his eyes fixed on the sky, in
his ear the wind, fascinated by thousands of soft reflec-
tions of sounds and of light, looking at and listening to

142

THE MONTHLY MUSICAL RECORD.

[November 1, 1871.

the little white sparkling waves of the brook, breaking
with a light noise on the stones of the bank. It is de-
licious. Some persons loudly reproach Beethoven for
having at the end of the adagio introduced successively
and together the song of three birds. As, in my opinion,
success or non-success usually decides the question of the
reasonableness or absurdity of such experiments, I will
say. to the adversaries of this one, that their criticism
appears to me just as regards the nightingale, whose song
is .hardly better imitated here than in the famous flute solo
of M. Lebrun, for the very simple reason that the night-
ingale, only producing inappreciable or variable sounds,
cannot be imitated by instruments with fixed sounds in a
determined scale ; but it seems to me that it is not so for
the quail and the cuckoo, whose cries forming only two
notes for the latter and one single note for the former —
notes, too, exact and fixed — have for that reason alone
permitted a perfect and complete imitation.

Now, if the musician is reproached for puerility, in
having let us hear exactly the song of the birds, in a scene
where all the calm voices of the heaven, the earth, and
the waters should naturally find a place, I will answer
that the same objection may be addressed to him when,
in a storm, he imitates as exactly the winds, the peals of
thunder, the lowing of the cattle. And yet, Heaven knows
if it ever entered the head of a critic to find fault with the
storm of the Pastoral Symphony ! To continue : the poet
brings us now into the midst of a " Merry meeting of
Peasants.". They dance, they laugh— with moderation at
fir st ; the bagpipe sounds a gay refrain, accompanied by
a bassoon which can only play two notes. Beethoven has,
no doubt, meant to depict by it some good old German
peasant, mounted on a tub, armed with a poor dilapidated
instrument, from which he can scarcely get the two prin-
cipal sounds of the key of F, the dominant and the tonic.
Every time the oboe intones its bagpipe melody, simple
and gay, like a young girl out for a Sunday holiday, the
old bassoon comes and blows his two notes. When the
melodic phrase modulates, the bassoon is silent, and
counts his rests quietly, until the return to the original
key permits him to replace his imperturbable F, c, F.
This effect, of excellent grotesqueness, almost completely
escapes the notice of the public. The dance quickens,
becomes mad, noisy ; the rhythm changes ; a clownish
air in 2-4 time announces the arrival of the mountaineers
with their heavy shoes ; the first movement in triple time
recommences, more lively than ever; all mingle, are
carried away ; the hair of the women begins to fly over
their shoulders ; the mountaineers have brought with
them their noisy and vinous joy ; they cry, they run, they
hurry along ; it is a fury, a rage . . . when a distant
peal of thunder spreads terror in the midst of the rustic
ball, and puts to flight the dancers.

" Thunderstorm." I despair of being able to give an
idea of this prodigious movement ; one, must hear it to
conceive to what degree of truth and sublimity imitative
music can attain in the hands of a man like Beethoven.
Listen ! listen to those squalls of wind charged with rain ;
those dull mutterings of the basses ; the piercing whistling
of the piccolo flutes, which announce a horrible tempest on
the point of breaking forth ! The hurricane approaches,
grows ; an immense chromatic passage, starting from the
heights of the instrumentation, comes sweeping down to
the lowest depths of the orchestra, catches hold of the
basses, drags them along with it, and mounts again,
shaking like a whirlwind which overturns everything in
its passage. Then the trombones burst forth, the thunder
of the drums redoubles in violence. It is no more the
rain, the wind ; it is a frightful cataclysm, the universal
deluge, the end of the world. In truth, it gives vertigo ;

and many people, while listening to this storm, hardly
know if the emotion they feel is pleasure or pain. The
symphony finishes with the " Thanksgiving of the
peasants for the return of fair weather." All then be-
comes once more smiling ; the herdsmen reappear,
answer each other on the mountain, and recall their
scattered flocks ; the sky is serene ; the torrents flow oft
by degrees ; the calm is restored, and with it revive the
rural songs whose sweet melody rests the soul, shaken
and terrified by the magnificent horror of the preceding
picture.

After that, must we really speak of the strangenesses of
style that are to be met with in this gigantic work ; of
those groups of five notes for the violoncellos, opposed to
passages of four notes of the double-basses, which jostle
one another without being able to fuse into a real unison ?
Must we notice that call of the horn, giving the arpeggio
of the chord of C while the stringed instruments hold that
ofF? . . . In truth I am incapable of it. For a work of
this nature, one must reason coldly, and how can we be
guaranteed from intoxication when the mind is preoccu-
pied with such a subject ? Far from that, one would wish
to sleep, to sleep for whole months, to inhabit in a dream
the unknown sphere of which genius has for a moment
given us a glimpse. If by misfortune, after such a concert,
one is obliged to be present at some comic opera, or some
soiree with fashionable cavatinas and flute concerto, one
will seem stupid : some one will ask you —

" How do you find this Italian duo ?"

You will answer gravely, " Very fine."

"And these variations for the clarionet ?"

" Superb."

" And this finale from the new opera?"

"Admirable."

And some distinguished artist hearing your answers,
without knowing the cause of your abstraction, will say,
pointing you out, " Who then is that idiot ?"

* * # • *

How the ancient poems, so fine, so admired as they
are, pale at the side of this marvel of modern music !
Theocritus and Virgil were great singers of landscapes ;
there is sweet music in such verses as

"Tu quoque, magna Pales, et te, memorande, canemus
Pastor ab amphryso ; vos Sylvae, amnesque Lycaei,"

especially if they are not recited by such barbarians as us
Frenchmen, who pronounce Latin so as to make one take

it for Auvergnat But the poem of

Beethoven ! those long periods so highly coloured ! those
speaking images ! those perfumes ! that light ! that elo-
quent silence ! those vast horizons ! those enchanted
retreats in the woods ! those golden harvests ! those rosy
clouds, wandering spots of the sky ! that immense plain
slumbering under the beams of noon ! Man is absent ;
Nature alone unveils and admires herself. And that pro-
found repose of all that lives ! and that delicious life of
all that reposes ! The infant brook which runs purling
toward the river ! the river, father of waters, who in a
majestic silence descends towards the great sea ! Then
man interposes, the man of the plains, robust, religious
. . . his joyous sports interrupted by the storm . . .
his terrors . . . his hymn of gratitude !

Veil your faces, ye poor great ancient poets, poor im-
mortals ! Your conventional language so pure, so har-
monious, cannot strive against the art of sounds. Ye are
glorious, but vanquished ! Ye have not known what we
now call melody, harmony, the association of different
timbres, instrumental colouring, modulations, the learned
conflicts of hostile sounds, which fight first to embrace
afterwards, our surprises of the ear, our strange accents,

November I, 1871.]

THE MONTHLY MUSICAL RECORD.

which make the most unexplored depths of the soul
re-echo. The stammerings of the puerile art that you
called music could not give you an idea of it ; you alone
were for cultivated spirits great melodists, harmonists,
masters of rhythm and expression. But these words in
your tongues had a very different sense from that which
we give them now-a-days. The art of sounds properly so
called, independent of everything, is born but yesterday ;
it is scarcely adult ; it is twenty years old. It is fine, it is
all-powerful ; it is the Pythian Apollo of the moderns.
We owe to it a world of feelings and sensations that re-
mained closed to you. Yes, ye great adored poets, ye
are vanquished : Inclyti sed victi !

{To be continued.')

FLY-LEAVES FROM THE PORTFOLIO OF AN
OLD SCHOOLMASTER.
II. On Drawing-room Music.
It is undeniable that " drawing-room music " is just now
regarded with a certain suspicion and distrust. This is
quite natural, as so much really bad music is written for
the purpose of being played in the drawing-room ; and
yet if we investigate the matter a little closer, we shall
find that a great part of the actual progress in refinement,
elegance, taste, invention of new figures, &c. &c, is greatly
due to the " drawing-room music." A peculiar feature of
it is, that it is shorter and generally more pleasing, at
least to the general public, than symphonies, sonatas, &c.
And yet, strictly taken, even sonatas might be classed as
drawing-room music, as they were originally certainly
intended to be played in private, not in the concert-room.
But we will make a distinction between drawing-room
and chamber music, and will limit our subject merely to
the style called " Salon musik," or anglice, drawing-room
music. If we look back we shall find that when the
clavecin was played, shorter pieces, written with less
pretension, were in high favour with the public. Short
movements, mostly originating in dance tunes, such as
courante, allemande, sarabande, gigue, gavottes, minuets,
bounces, were linked together in a somewhat loose fashion
and called " Suites." It was only in Bach's, Handel's, and
Rameau's time that a certain systematic order, or one
may call it an organic structure, came into the suite, and
from this greater conciseness or abbreviation resulted the
" Suonata," which we will not include in the class of
drawing-room music, but will leave to the chamber music.
All that Domenico Scarlatti wrote — " the lessons," even
now in our time of great technical proficiency most
welcome— was intended, according to the preface of the
author, " for amusement " only. Sebastian Bach, the ear-
nest scholar, dedicated his " Clavier Uebung," containing
the immortal suites and partitas " denen Liebhabern zur
Gemuthsergotzung ' ("for the amusement of amateurs").
The elegant courtier, Francois Couperin, wrote his little
musical pictures for the edification of the members of
Louis the Fourteenth's court, and even the misanthropic
Rameau did not disdain to write some plaisanteries like the
" Tambourin," "la Poule," and other trifles. We find then,
by quoting these illustrious names, that the drawing-room
or lighter music has undoubtedly a legitimate existence
as a branch of the art. As regards our forefathers, we
find that most of them wrote it, partly to ingratiate them-
selves with the great public, or to repose themselves from
the more arduous task of composing their stricter works,
such as oratorios, operas, &c.

With Bach we find even that he used the writing of
lighter music to acquire the elegance of the French and
the pleasing freshness of the Italians. Handel wrote his
world-wide known variations called " The Harmonious

Blacksmith " on a French air, and tried to give to his varia-
tions the same suavity and roundness by which the beau-
tiful air itself is distinguished. The same case is found
with the variations in D minor in his second suite, based
on another French air called " La Monferine." Emanuel
Bach's desire to please is everywhere manifest, were it
not that he expressed himself most distinctly in his much-
valued work, " Versuch iiber die wahre Art das Klavier zu
spielen."

If we look for the contribution of Joseph Haydn to
the library of smaller pieces, we shall find many charming
compositions, but too little known. The reprinted edition
of these gems by the eminent firm of Messrs. Breitkopf
and Hartel deserves the attention of every student.

Let us see what Mozart wrote for the use of the "Salon."
We find twenty-one sets of variations, three rondos,
three fantasias, and sundry gigues, marches, waltzes, &c.
&c. Beethoven wrote bagatelles, rondos, variations,
pastoral dances, waltzes, &c. Weber wrote polonaises,
waltzes, variations, &c. Hummel composed a good many
divertissements, Dussek also. We have quoted enough
classical composers to show that the lighter music was
deemed an essential point of importance by them. If we
look at all those shorter works, we shall find that their
constitution rests on a very solid foundation. Their
rondos are constructed in the same way in which the
rondos in the sonatas are written. The allemandes,
courantes, &c, of Bach contain most scientific writing in
the pleasantest form ; in short, we find everywhere solidity.
If we follow to a more recent date the musical catalogues,
we shall find the name of John Field. This talented
Irishman invented a new form of drawing-room piece,
which he called " Nocturne." At the time of its origin
it seemed unpretending enough. Field's nocturnes are
merely natural, chaste melodies, with a simple accom-
paniment. The repetition is generally adorned by most
graceful, elegant, and singularly refined little variations,
more strictly embellishments, which the composer is said
to have performed with such inimitable expression that
every one was delighted, and soon the nocturnes of Field
found their way, at least in Germany and France, into
almost every house. Strictly taken, they do not claim any
special merit as music, but still the charm of their sim-
plicity, genuineness, and the utter absence of any pre-
tension is irresistible, and they will always more or less
retain their hold upon the public.

All our reveries, serenades, aubades, romanzas, songs
without words, are nocturnes with another name. Soon
it was felt that a variety is necessary to keep up the
interest of the public. Dances were again introduced, and
it was particularly the polacca or polonaise, the mazurek
or mazurka, and last, not least, the waltz which played
an important part. Chopin, this thoroughly Polish
composer, naturally felt most inclined towards the dances
of his nationality, and his polonaises and mazurkas have
not only true national spirit and expression, but are also
replete with rare beauty. Their effect is brilliant and fasci-
nating, and the complete absence of any vulgarity makes
them standard works. Chopin's waltzes, although they
are elegant, piquant, and pleasing music, are but indif-
ferent waltzes, and do not deserve as such the high
estimation which his polonaises and mazurkas enjoy.
Every country was ransacked for dance music ; Spain had
to give the bolero, fandango, seguidilla ; Italy furnished the
saltarello and tarantella ; Hungary, the czarda's ; Germany,
the styrienne and tyrolienne ; Bohemia, the redowa, dowak,
and polka ; France, the galoppade, and the francaise or
quadrille. When the mania for dances was subsiding,
another most important feature was introduced into the
domain of pianoforte drawing-room music, viz.,the "Trans-

LifH-

criptions." Although the transcriptions seem to date only
from a recent time, we have to look for their real origin
much further back. Bach was the first who introduced
transcriptions ; he transcribed Vivaldi's violin concertos
for the clavichord. Our modern transcription has been
brought to greatest perfection by Franz Liszt. At the
same time that Liszt delighted the Viennese and other
publics with his transcriptions of Schubert's,. Mendels-
sohn's, Schumann's songs, Thalberg created great furore
with his operatic fantasias. But also this form, although
Thalberg deserves great credit for the improvements he
wrought out, is not of his invention, and dates from about
1800, when Louis Emmanuel Jadin in Paris was the first
to introduce " Melanges and Potpourris." Thalberg's
*' Fantasia " is nothing else but a better and more carefully
written " Melange." A most int.eresting/ contribution to
flie drawing-room music forms the ." Etude," in which
Moscheles, Henselt, Chopin, Thalberg, Liszt, Kalkbrenner,
Taubert, Heller, Hiller, Dohler, and many others excelled.
The elude had such a tempting, seducing effect even
upon such earnest musicians as Mendelssohn and
Schumann were, that we possess very fine eludes by them,
full of fire, originality, and beauty. Another interesting
branch of the drawing-room music consists in the " fanci-
ful pieces." Besides that we possess songs expressive of
all possible occupations, like Chanson du Chaudronnier,
Chanson des Matelots, Chanson du Soldat, du Chasseur.
du Moissonnier, du Paysan, &c. &c, we have, strange to say,
also music for all parts of the day and night. And with
these mere attempts to present a new title begins the
period of absurdities of which we have at present such a
mass. Schumann wrote Phantasiestiicke each with a
name ; but with him every name finds also the suitable
musical expression. In his Carnival all titles have a
raison d'etre. The same is the case with Heller. His
hunting pieces, his "Promenades d'un Solitaire," and other
of his works are all poetical and well expressed. The same
praise might be given to SchulhofFs Idylles, to his Chanson
•d'amide-, to his Musique intime. But apart from the
just-named composers, and a few others, amongst whom
we would also class Reinecke, Volkmann, Seeling, &c, we
meet with so many shallow, empty absurdities, with such
downright nonsense, that we might almost despair and
think that the good days of musical art are really and for
ever gone.

So far we have seen that the drawing-room music forms
a most important chapter in the history of musical art,
that it has a most legitimate existence. We shall try to
find out how far it influenced orchestral music, of course
in an indirect way. Such attempt may be left for our
mext number. E. P R.

(To be continued)

VIOLETTA,

{TRANSLATED FROM ELISE POLKO'S "MUSIKAUSCHE MAHRCHEN.")

{Continued from page 132.)

Hardly had four days elapsed, when the cheerful music-
student came jumping over the hedge again — this time,
however, not tired and exhausted, but lively and fresh.
Violetta was delighted when she saw him ; he fell without
any ceremony on her neck, and kissed her on her pretty
mouth;; the starling cried, "Wer ein Liebch'en hat gefun-
den!"* How pleased the old cantor was when he saw
the young man again ! He drew him confidentially into

* " He who has found a sweetheart ! "—the beginning of a duet in the opera
■of Die Entfuhrung aits dew Serail.

his little room, opened an old cupboard, and Amadeus
saw with astonishment a store of the most valuable works
of Sebastian Bach, Handel, Palestrina, Pergolesi, and
others besides. Some masses by Father Haydn lay there ;
every work was neatly bound, and displayed in gilt letters
on the back the name and year of the birth of the com-
poser. Amadeus turned over the leaves of the thick
volumes with a thoroughly happy look, and knew all
about them, to the great surprise of the cantor. He spoke
of all with wonderful judgment and clearness, and mean-
while a bright enthusiasm gleamed on his sweet face.
The old gentleman took off his cap, laid his hands on the
young man's shoulders, looked at him earnestly, and said,
" You are a dear, good soul ; and will certainly yourself
become a great master, if God spare your life I" and
therewith he folded him in his arms and kissed him on
both cheeks ; and the starling cried out, "Es lebe Sarastro I"
Then Amadeus played, and the old spinet trembled under
his powerful hands ; exquisite melodies rocked the souls
of Violetta and her father in sweet dreams. When evening
came on, they went into the garden, and the young man
ran a race with Violetta ; they pelted each other with
flowers and rose-leaves, and played, like two children,
with the clever starling. Amadeus told Violetta how fond
he was of the bird, and how he would never part from
him. His deceased mother had brought it up, and given
it to him, and now it was his companion by day and night,
took up his place in the evening on his master's pillow,
tucked his head under his wing, and slept there till next
morning.

The summer passed, but there was no week in which
Amadeus did not come once to sing with Violetta — for
she sang with a sweet artless voice all sorts of old melodies
— and to chat with the old cantor about Sebastian Bach,
and tell him of Father Haydn. Once Violetta's father
asked him, " Tell me now, what do you think of that
Mozart who is beginning to attract so much attention in
the world by his works ? I should like to hear something
about him."

" Well," said the young man, " I know him very intimately,
as well as I do myself, and can give you the most accurate
information about him. Mozart is a very merry, careless
fellow, who looks something like me, only somewhat more
serious when he has the conducting-stick or the pen in
his hand. He is as happy as a child, and likes the best
of everything ; his soul swims in a sea of sweet tones,
which charm him ; the world smiles on him, and his heart
is the lightest and gayest in the world. Also he loves
wine ; but above all a nice girl's face ; also flowers and
butterflies. You would love him, that I can assure you ;
for he really has no enemy ; but he has a wife, whom he
loves indescribably ; and who also deserves it, for she has
few faults ; only she is jealous, and that plagues the silly
Mozart a little."

The cantor shook his head with a smile ; but Amadeus
hastily took leave, although, he had scarcely been there an
hour, and the sun was still high in the heaven. " This
evening an opera of Mozart's is to be produced," he said,
" Don Juan, and I wish to know how it will please the
people ; I am of a rather restless nature, and to-day
especially so excited that even Mozart himself cannot be
more so ; to-morrow I will tell you about it." The starling
had scarcely time to cry, " Schnelle Fusse, rascher Muth !"
for his master even forgot to kiss Violetta ; and he left
her nosegay behind. But the maiden hung her head the
whole day ; whether because of the forgotten kiss or the
withered flowers, I cannot exactly say.

The following day passed, and no Amadeus appeared ;
the sun sank lower and lower, and the yellow leaves fell
from the trees. The old cantor sat in his easy chair

November i, 1 871.]

THE MONTHLY MUSICAL RECORD.

i45

buried among his music books ; Violetta hummed, but very
softly ; she was not perfectly happy. Suddenly there was
a knock at the window : a clear well-known voice begged
for admission.' Violetta jumped up quickly : accustomed
to his freaks she opened the window, and the Viennese
music-student sprang into the room. " Dear papa," he said,
with a face like a spring-morning, " Mozart has done
excellently ! Don yuan is. very tolerable ; besides, he
salutes you, and has sent something that I will bring in
directly. But here, first receive this little souvenir from
me," and he put a neat little packet into the hands of his
old friend. It was an Ave verum. Violetta received an
elegant leaflet with the inscription " An mein Veilchen "
{To my Violet). It was a song, the words of which
commenced —

"Em Veilchen auf der Wiese stand."

The maiden was delighted ; but the old man quietly
looked through, with earnest eyes, all the leaves ; then he
stood up, went silently to his music-shelves, and laid the
piece carefully between Bach and Handel. The young
man's cheerful face showed tokens of quiet emotion ; the
cantor held out both hands to him, and said, "You
best know what that place means ! " Then the blue eyes of
Amadeus filled with tears ; he seized with passionate
earnestness the hand of the old man, and cried, " Dear
father, I myself am Mozart ! the mad, merry Mozart, to
whom you, by this simple mark of honour, have given
greater, deeper heart's joy than all the empty applause of
the whole world has ever done. I thank you, but I have
also another pleasure for you ! " Like a child he threw
himself on the breast of the old man, who looked as if
transfigured, pressed him to himself, and ran out at the
door. A moment after, his beaming countenance showed
itself again ; the starling cried, " Sarastro lebe !" and there
entered — Father Haydn. A gleam of joy from the eyes
of the old cantor, a trembling movement of his lips were
his only greeting for his king and master. His body could
not bear the excitement of his soul, and as Haydn with
his expressive smile said, " God be with you ! " and held
out his hand to him, Mozart anxiously bent over him; but
Violetta, full of foreboding, clasped her father's knees : God
beckoned to him, and his spirit passed away into the
kingdom of the eternal harmonies of heaven !

Many, many years have passed since then ; Father
Haydn long since directs glorious choirs of angels ; Mozart
too sleeps his deep long sleep in the cool earth ; these
and many other stars have set for our world ; but the
hamlet still looks out so quiet and lovely from the thicket,
the old lime-trees are still as fragrant as formerly, and in
the cantor's house there lives quite alone an old dame.
It is the once so beautiful, charming Violetta. She has
never married, and lives a dream-life in her recollections.
But if you should visit her, you have only to ask her about
Mozart ; then her eyes brighten, and a glimpse as it were
of youth spreads over her features ; and she will talk of
him by the hour ; and at last perhaps she shows you a
little, alas ! very yellow sheet of music, on which is written
in hurried characters —

" Ein Veilchen auf der Wiese stand."

[We have thought this prettily conceived little tale worthy of in-
sertion in our paper ; at the same time, it is only right to inform our
readers that it will not bear an examination in the spirit of Dr
Colenso. The details are wholly imaginary : to mention only one
instance, Haydn's Seasons, to which reference is made in the earlier
part of the story, was not produced until ten years after Mozart's
death. Other details are equally inaccurate ; but the sketch will
perhaps please, as giving an idea of the personal character'of Mozart.
—Ed. M. M. R.]

INCIDENTS OF FRANZ LISZT'S YOUTH.

COMMUNICATED BY C. F. POHL.
(TRANSLATED FROM THE MUNICH PROPYLA.EN, 1869.)

(Continued from page 1 3 1.)
SECOND LETTER* (FROM LISZT'S FATHER TO CZERNY).

Paris, March 17th, 1824.
Esteemed Sir, — You will agree with me that there is
not such a long rest in music as I have made since my
last letter, but hitherto it was almost impossible for me
to write a long letter ; and being at such a great distance,
and having so many objects before the mind which are
only of interest to you, and which you only can ap-
preciate, I cannot write a short letter. For this reason
I hasten to commence. Since the nth of December we
have been in Paris, and as the papers and many private
letters had announced our coming, after a few days of
rest we were soon occupied, and received with the highest
enthusiasm. Since our arrival we have accepted already
thirty-six soirees in the first houses, where for a soiree
never less than 100 francs, and often 150 francs, are paid.
Not to neglect the necessary rest and the studies of my
boy, I was compelled to decline several invitations.

Once he played at Madame la Duchesse de Berry's,
where the whole royal family was present, and where he
had to extemporise four times on given themes — three
times at the Due d'Orleans'. The applause was so great
that he has been invited for several occasions to both
these high houses. On the 7th of March we gave our
first public concert at the Royal Italian Opera-house,
which Avas given to us for our benefit without charge for
orchestra and lighting. Our expenses were therefore only
343 francs, and we had a clear profit of 4,711 francs. It
is a pity that the theatre is so small, and that I did not
like to raise the prices much, otherwise I am certain the
receipts would have been as much again. The boxes
were already taken eight days before by the subscribers,
and nobody else could get one. The applause my boy
earned I cannot describe, and I believe I have said,
enough if I mention that the general desire that we should
give a second concert was expressed several times, in the
theatre and in the public papers. You will think and
say, this desire Liszt can easily fulfil, and you are quite
right ; but at the same time you must know that it was
quite a special favour, for which we had to thank the
high protection of the Duchesse Berry and the royal
minister Lauriston. But few artists can enjoy such, at
least in the way we had the theatre. I do not believe
that a single instance can be found in Vienna, where the
theatre was given, free of all charges, to a foreign artist
for his own benefit, and, besides, an act of an opera per-
formed to assist him. This single instance may furnish
you with sufficient proof how much superior the French
are in generosity and appreciation of art. I could write
to you of much more, but my Diary shall tell you all
minutely. Now I will only say, Whoever knows some-
thing must go to Paris ; here taste for art is at home —
here an artist is esteemed and honoured. Herr Pixis has
not been very fortunate here with his instrument by Graf
(Conrad Graf, piano-maker in Vienna). This speculation
has brought both rather loss than gain. Here, too, good
instruments are to be found, amongst which a new dis-
covery of the very clever mechanician Erard is especially
distinguished. I believe this man has rendered the most
important service of the day to the improvement of the
piano. I am not able to give a description of it ; only

* The translator thinks it necessary to repeat that in translating these
letters he has kept as closely as possible to the originals.

X X X-i X

I'lViJlvriJj xVx_J\_,V_/xV.L'.

l_i\ovemDer i, 1571.

one little peculiarity I will mention : the touch is light,
and nevertheless you can give to the tone (which is very
good) every different expression. After striking a chord
you can make it heard loud or soft, without raising the
hand, as often as you like ; it is really astonishing. Only
three of these instruments are finished ; a fourth, which
is for my boy, is in hand ; when ready it will be forwarded
to Vienna, and I am convinced that it will meet with
your approval. Now for something else.

My dear Herr von Czerny, we were very much sur-
prised that your compositions were so little known here,
but now it is clear to me ; and the matter is partly settled
already, and will be done away with in time altogether.
At the concert my boy played your variations, which met
with the greatest success ; on the following day different
people came to us, amongst others also a publisher, and
offered to buy these variations from us. I told them that
they had appeared in print, and they were much delighted
to be able to get them. My boy plays mostly your works
in company, and they are much liked ; I only regret that
we have not all. In many circles a lively wish has been
expressed to become acquainted with the teacher of this
"miraculous child" (so our boy is called everywhere). "Is
he not coming to Paris ? " they ask. Now this brings me
to your most dear and esteemed person, and I ask, Will
you never leave Vienna ? If I had to give the answer I
would say, You ought to do it, and go with a good stock
of your compositions to Paris ; we will prepare everything
for your coming, and you will meet with such a reception
as you never expected, and reap a reward which you can
never hope for in Vienna. In all probability we shall not
go before next year to London, our prospects here im-
proving every day. If, therefore, you feel inclined to
come to Paris, which would have to be at the commence-
ment of autumn, I beg you to write to me. You can
take up your quarters with us— a fine room and sleeping
chamber looking on the street, on the second floor, in the
middle of the town— without charge. We shall still have
a sitting-room and two bed-rooms for ourselves, and if
you will put up with what we have on the table (we
manage the housekeeping ourselves) we shall be doubly
pleased. If you feel inclined to give lessons, there would
be no want of them, you would have enough. For a
lesson, usually from ten to fifteen francs is paid, and I am
convinced that you would never have occasion to accept
ten francs. We will introduce you to houses where you
will certainly find pleasure and -enjoyment. Most parti-
cularly we wish to have your concertos, to make use of
them in public. If Steiner (music publisher at Vienna)
or any other have an opportunity to send to Paris, it
could perhaps easily be managed that you sent them
with other new things. Or if you wish to publish some-
thing, send it to me, and I am sure I shall obtain the best
price for you. For good works very high prices are paid
here. Now I must tell you something about Herr Pixis ;
this gentleman seems to be our enemy— the reason why, I
do not know myself. We have only spoken to him once,
when we met him by chance in the Palais Roval ; since
then, we had often seen him at a music selle'r's, where
Herr Pixis never deemed us worthy of his notice. It is
well that this rival is too powerless to do us any harm,
and that through his behaviour he only stands a chance
of drawing blame from others to himself.

Dearest, best Herr von Czerny, we kiss and greet you and
your dear parents many times with the highest esteem and
reverence, and shall be very pleased soon to get a letter
from you. We suppose we shall hear something of the musi-
calworld at Vienna. I have to tell you still a great deal, and
my paper is already coming to an end. Giveour compliments
to Herren Sterner, Haslinger, Abbe Stadler, Leidesdorf,

Diabelli, Streicher, and if you would have the kindness to-
pay a flying visit to the Countess Vinzenz Bathiani in the
Karner Strasse, and pay our respects there, you would
eternally oblige

Yours, etc., Liszt.

Adresse : Adam Liszt,

Rue du Mail, Hotel d'Angleterre, No. 10.

(7(0 be continued.)

A LETTER FROM ROBERT SCHUMANN.
The following letter, addressed to Dr. J. G. Herzog, music
director at the University, Erlangen, written by Schumann,
in answer to a request to give his opinion about some
compositions, and counsel about the future, appears to us
to be . of sufficient interest to bring it before our readers.
We translate it from the Leipzig A llgemeine Musikalische
Zeitung : -»

Leipzig, A ugnst ,\th, 1841.

Dear Sir, — Receive my .thanks for your confidence,
which I should like to return by frankness. But there
are always difficulties in the way of a thorough under-
standing from a distance. Besides, I do not know what
plans for the future you have formed — for this reason, I
must principally keep to the purely musical, as it appears
to me in your compositions.

You seem to be chiefly at home on the organ — this is a
great advantage ; the greatest composer in the world has
written for it the greater part of his most beautiful works.
On the other hand, it is precisely the organ which easily
tempts to a certain easy style of composing, as everything
sounds good and grand on it. At all events, do not write
so many small things, and experiment in larger forms —
toccatas, &c, of which Bach has given the highest
examples.

But if it is not your intention to study the organ chiefly,
you should try yourself in composing a piano sonat?, a
string quartett, and before all, write for the voice ; f1 Js, will
most further your progress, and soone^ :-.ing your
musical intellect to bloom.

Read also a great deal of music ; this sharpens princi-
pally the inner ear. Do not play a piece before you have
heard it in your mind. For this purpose I would chiefly
recommend the 320 chorals by Bach and the "Wohl-
temperirte Clavier."

Never do too much at a time, but finish always what
you have commenced, particularly compositions of greater
pretensions, even if you should not be quite satisfied with
them. These are only hints ; may you not misunder-
stand them. You have still a fair youth before you, and
at your age a great deal can be learned with little trouble.
For this reason, never lose courage, and strengthen it, if
it should fail, with our great German masters, like Bach,
Handel, Mozart, and Beethoven.

Go therefore cheerfully to work, and send me by-and-
by again some of your works. With the best wishes,

Robert Schumann.

Cmttsprnttiewe,

To the Editor of the Monthly Musical Record.

Sir,— In your leading article of last month under this heading, it
is stated that ' ' the term ' Music of the Future ' has been adopted by
the composers of the new German school as their watchword, while
it is applied. ironically, and as a sneer by their adversaries.'' That
it has been adopted, or at least made use of by them, is indis-
putable, from the fact that Wagner has published a pamphlet
entitled " Zukunfts-musik " ; that it has frequently been applied

mber i,i87i.] THE MONTHLY MUSICAL RECORD.

147

ironically and as a sneer by their adversaries is but too true. It is,
however, equally true that both the leaders and disciples of this new
school of thought disown the term, except as one of reproach. This
fact, which is one with which English musicians do not seem to be
generally familiar, may be verified by reference to an article by
F. Brendel, which appeared in the Almanack for 1868, issued by
the Allgemeitie Deutsche Musikverein, which, founded in 1861, and
including in its ranks musicians of all shades of opinion, is probably
now the most numerous, as well as the most influential of all Ger-
man musical societies. Herein it appears that the abolition of the
obnoxious term and the adoption of " Neudeutsche Schule " (New
German School) in its place was one of the earliest acts of the
society. As most matters worth a thought are worth tracing to
their source, I shall be glad if you, sir, or any of your correspon-
dents, can enlighten me as to who was the originator of the
expression "Music of the Future." — I am, Sir, &c, C. A. B.

[We believe that the term "Music of the Future" was first
applied to the New German School, from its use by Wagner in his
" Kunstwerk der Zukunft," in which he maintains that in future
music should not stand on its own merits merely but be united with
the sister arts.— Ed. M. M. R.]

AN EXPLANATION.
To the Editor of the Monthly Musical Record.

Sir, — I shall feel much obliged, if you will permit me to state,
that the little pianoforte solo, The Village Festival, reviewed in
your last number, is not a new work, but simply a " reprint " of one
written for juvenile players, and originally published many years
since. The copyright does not belong to me, and I need scarcely
add that the work was sent to you without my knowledge. — I
remain, truly yours, Brinley Richards.

St. Mary Abbott's Terrace,

Kensington, October 5th, 1871.

[We have much pleasure in inserting Mr. Richards's explanation ;
and cannot but think that he has just cause of complaint. It was
hardly fair of the publisher to send us one of his earlier pieces,
leaving us to infer that it was a new composition. Had we been
aware that "The Village Festival" was one of the sins of Mr.
Richards's youth, we should certainly not have remembered it
against him.— Ed. M. M. R.]

TO CORRESPONDENTS.

B. L. M. — Had you read our article a little more carefully, you
would have seen that we did not include Schumann among the
"musicians of the future," but merely stated that some critics do
so. As to the "striving after originality," &c, that is, of course,
merely a matter of opinion. We have expressed ours freely, and
others are equally entitled to their own.

Jfmtffln Comspmtirewe.

MUSIC IN NORTH GERMANY.

(FROM OUR SPECIAL CORRESPONDENT.)

Leipzig, October, 187 1.
OUR concert season has commenced ; the subscription
concerts at the Gewandhaus have begun on the 5th of
October, and this first concert may be called an excellent
one in every respect. The beautiful suite in d major by
Bach opened the concert in a most suitable and worthy
manner. The performance, as regards the orchestra, was a
thoroughly efficient one. Herr David, as usual, had taken
the solo violin part of the second movement, and this
delicate artist rendered his part in a manner above all
praise. This work has been included in the programme of
the Gewandhaus concerts for a good many years, and we
ask ourselves' with astonishment and surprise, why, out-
side Leipzig, it seems to be almost unknown. For years
we have missed this splendid creation in the repertoires
of other concert institutes which have undertaken the
task of fostering classical orchestral works ; and without
wishing now to go into details of the beauties of the work,
we cannot help here drawing attention to it, as in every

respect it counts amongst the most powerful and mightiest
achievements of the sublime master. Beethoven's c
minor symphony formed the finale of the concert. After
Bach's suite followed an air nearly 200 years old, from
the opera Mitrane, by Francesco Rossi, sung with much
feeling and expression by Fraulein Cora Fehrmann, from
Richmond in Virginia. We know no other composition
by Rossi besides this alto air, brought forward about 25
years ago by Fdtis, which, however, in its wonderful
beauty, will in all time give a brilliant testimony to the
genial talent of the long-forgotten Italian master. It is
possible that other productions of Rossi have been re-
duced to dust through the devastating power of time;
perhaps no other composition of this author could hold
its own, in the changes which have come over the art
during two centuries ; this air now is the only one
known; but will live for a long time ; it is truly classical.
Fraulein Fehrmann has through the rendering of this
air earned no small applause, and by the performance
of this number, as well as two songs by Schubert and
Schumann, showed herself a well-educated singer, who
possesses a contralto voice well equalised although not
very powerful.

Herr Theodor Leschetitzky, from Petersburg, justi-
fied the fame as first-class pianist which had preceded
him. He played the so-called Dutch concerto (Concerto-
symphony National Hollandais, No. 3) by H. Litolff, two
very nice salon compositions of his own (A veu and Mazurka),
and the B minor Scherzo by Chopin. Herr Leschetitzky's
mechanism is really miraculous ; his interpretation of the
different compositions rendered by him is throughout
intelligent, and suited to the character of the different
works. The concerto by Litolff is to-day, after an exist-
ence of scarcely thirty years, almost forgotten. Partly
this may be attributed to the immense difficulties which
the piano part offers, but also to the fact that notwith-
standing many interesting and telling points, the real
musical worth of the work is but small.

In scarcely any other art does the diversity of expression
of sentiment of different generations show itself so pro-
minently as in music. Well-constructed master-works, to
which our fathers and grandfathers listened with true
pleasure, can scarcely obtain from us a slight interest, and
only in an art-historical point of view do we take notice of
them. From the last century, only the most important
works of the greatest masters, like Palestrina, Durante,
Lotti, Bach, Handel, Haydn, and Mozart, touch the inner-
most fibres of our heart. For all music of former ages
our sense is as good as dead, and yet before the above-
named music-heroes other masters have lived and written
for their times, but their works appear to us almost without
connection with the art of our days ; and we consider
to-day this art-epoch, almost disappearing in the darkness
of the Middle Age, as the childhood of our Western music.
How differently do we stand as regards the products of
art of former centuries, even the remotest in the field of
poetry, sculpture, painting, and architecture !

Now if the really good in music after a comparatively
short time is lost to us, and does not answer any longer
to our feelings, how much more does the charm of all
external beauty pale ! We remember to have heard the
concerto by Litolff spoken of in the year 1849 with
the greatest interest. To-day it appears to us rather
trivial in its humour, insufficient in its contents, and
arbitrary in its construction. If any one should wish
to protest against our remark above, " that the really
good in music, after a comparatively short existence,
does not answer any longer to our feelings," we simply
refer him to the numerous productions of truly meri-
torious masters, such as the Passion-music by Heinrich

148

THE MONTHLY MUSICAL RECORD.

[November I, 1871.

Schiitz, the operas by Paisiello and Cimarosa, the masses
by Michael Haydn, and many other works, to which
a great value cannot be denied, but for which we
scarcely possess any longer a real susceptibility. How
much even of the compositions of the greatest- masters
appears to us " out of date," to use the common ex-
pression for what does not answer any more to our
feelings ! Partly even the means for the performance of
master-works of f®rmer ages are lost to us. To-day we
can already not perform any more a work by Bach, with
the instrumental accompaniment as written, because our
trumpets are constructed differently, and because we do
not possess any more the viola d'amour, viola da gamba,
and other instruments named in the score. And who will
blame us if we decorate a fine old air with modern instru-
mentation, if even a Mozart and a Mendelssohn held it
necessary to change the unadorned instrumentation of
Handel's oratorios, with the means of art at the command
of later times ? Precisely these last-named facts appear
to us a telling argument for our assertion of the very fast-
changing perception of different generations towards
musical works of art. In every other art, such a procedure
as Mozart, Mosel, Mendelssohn, and latterly Hiller, have
adopted with Handel's works, one would have to declare
gross vandalism ; and who would ever have dared to
alter one iota of an expression of Homer or Shakespeare?
Who would have thought it necessary to add modern
ornaments to the cathedral at Strasburg, to the Stephen's
Cathedral, or other famous old buildings ? But in music,
partly different construction of instruments, and the loss
of those originally intended, led to the change of the instru-
mental dress, if we wish to perform at all master- works of
former times. Numerous excellent works of art of the best
masters, and of their pupils and successors, are lost to us,
although our libraries contain real treasures in manuscript.
Good works had to make room for equally good and partly
inferior works ; but this is not the result of the great number
of productions in the field of music ; but just because our
perception of music, in an almost incredibly short time,
with different generations, has become different, for this
reason, a restless production at all times has rendered it
a necessity to offer corresponding matter to this ever-chang-
ing perception.

[We are sorry that the serious illness of our esteemed
correspondent at Vienna has prevented his sending us his
usual letter this month.— Ed. M. M. R.]

&riH'eto&

The Nine Symphonies of Beethoven. In Full Score. London :

Schott & Co.
The increasing demand among amateurs for music of the higher
class, especially for orchestral scores, is one of the most hopeful
signs of the present day. A few years since, any publisher who
ventured to issue such a series as the one before us would have been
certain to incur a loss. Yet here we have a really superb edition of
Beethoven's immortal masterpieces issued at a price which we
might almost call so absurdly small, that nothing but a large sale,
we imagine, could possibly render it a remunerative speculation.
Several complete editions, as most readers will be aware, have been
previously published, but the present one will compare favourably
with the best of its predecessors. Not only is it cheaper than even
the most inferior French copies, but it is fully equal, both in beauty
of type and in correctness, to the best German edition (that pub-
lished by Breitkopf and Hartel a few years since in their complete
collection of Beethoven's works) ; while from its size — octavo — it
possesses a great advantage over the German copy, which being in
folio, is not convenient as a handbook for performances. We are
sure that it only needs to be known to be appreciated ; and at a
recent performance of one of the symphonies at the Crystal Palace,

we were pleased to see no less than seven copies of the edition
among the audience in our 'immediate neighbourhood. Of the
works themselves it is superfluous to say one word ; but the com-
mencement of the concert season affords a fitting opportunity to
direct the attention of our readers to an edition which we can most
heartily recommend as fully equal, if not superior, to any previously
published. We should add that, though not bearing his name on
the title-page, we are informed that the work is produced under the
careful editorship of Dr. Chrysander.

Franz Schubert's Vocal Album. Edited by E. Pauer. London :
Augener & Co.

We have here, bound in one handy and handsome volume, the
whole four books of Schubert's songs, the successive appearance of
which has been duly chronicled in our pages. The collection, con-
taining in all eighty-two songs, comprises the complete sets of the
"Schone Mullerin," the " Winterreise," and the "Schwanenge-
sang," besides twenty-four favourite songs ; thus forming, we might
almost say, a Schubert library in itself. As mentioned in noticing
the separate books,. these songs, besides the original German words,
have a particularly admirable English version from the pen of Mr.
Stevens. The volume is embellished with an excellent portrait of
the composer.

"Bon Vivani," Mazurka for Piano; "Sans Faxons," Mazurka
for Piano ; "The First Daisy," Valse de Salon; Seguidilla
for Piano ; "Minerva," Marche Brillante ; " Nelson," brilliant
Fantasia on Braham's celebrated air. By J. Alexander.
London : Augener & Co.

Mr. Alexander's name is one that is entirely new to us, and it is
therefore with a mixture of pleasure and surprise that we have
played over the above little drawing-room pieces. Though we
cannot say that all are of equal merit, they all show decided origi-
nality of thought, and a pleasing vein of melody such as is but too
frequently wanting in pieces of this class. Our own favourite is the
"Seguidilla," in which the marked rhythm of the Spanish dance
is turned to good account. The passage-writing shows a thorough
knowledge of the instrument, and is both graceful and brilliant,
without ever being so difficult as to be unattainable by ordinary
players. The two mazurkas may also be commended for their
avoidance of the commonplace, in a form in which novelty of
invention is even more difficult than usual. The same praise may
be bestowed upon the march, which, while slightly more difficult
than some of the other pieces, is very effective, and far superior to
many marches that it has been our misfortune to meet with. The
valse and the fantasia on Braham's song are perhaps hardly equal
to the other pieces ; but there is not one of the series which cannot
be honestly recommended for teaching purposes, or for playing in
the alas ! too numerous musical circles where classical music
would not be appreciated.

Overtures, transcribed for the Piano, for Two and Four Hands.
By E. Pauer. London : Augener & Co.

In an early number of the Record we noticed the commencement
of this interesting and valuable series of transcriptions. It is only
necessary therefore to record its continuation. Among the numbers
recently published are some of Mendelssohn's overtures. That to
the Meeresstille has always struck us as being more dependent than
most on the orchestral effects ; but Herr Pauer has done all that is
possible for it in his adaptation. The " Military Overture," on the
other hand, "comes out" (to use a common phrase) capitally both
in the solo and duet forms. Weber's Jubilee overture is another
excellent transcription ; while among less commonly known works
we find Cherubini's overture to Les Deux Journees, and Gluck's to
Iphigenie in Aulis. There are many neglected and almost for-
gotten pieces, which would well deserve reviving ; and we hope that
the editor will, before the series is completed, rescue some of them
from an unmerited oblivion.

Huit Morceaux de Salon, pour Violon ou Violoncelle, avec Accom-
pagnement de Piano, /ar Berthold Tours (London : W. Czerny),
are not, with one exception, original compositions by Mr. Tours,
but short and simple pieces of various writers, arranged by the
editor for the two instruments. The composers are Messrs. J. B.
Wekerlin (three numbers), Oscar Beringer (two), and H. Scholtz,
B. Tours, and D. Brocca (one each). They are without exception
excellent, and being moreover very easy for both instruments, are,
we believe, sure to be popular wherever they are known.

November i, i87i.] THE MONTHLY MUSICAL RECORD.

149

'• The dear old Home," Ballad; "Dew when. Night has passed
away," Song, by G. A. MacfarRen (London : W. Morley), like
all compositions from' the pen of this talented musician, are
thoroughly well written. The song is the more original, and we
think the better, though probably the less popular of the two.

"To the Cross," Sacred Song; melody by R. Schumann,
arranged by W. F. Taylor (London : W. Morley), is, we are
sorry to say, one of the grossest outrages on musical good taste
which have ever come under our notice. The "melody" consists of
the opening bars of the fourth of the composer's " Nachtstucke,"
which is not even given in its original form— the harmony being in
some places changed— and which is further vulgarised by the addi-
tion of a common-place, not to say stupid, symphony at the end.
Such tampering with the works of the great composers cannot be
too severely condemned, and we write, because we feel, strongly on
the subject.

Among recently published drawing-room pieces, which may be
safely recommended as answering the purpose for which they are
designed, and yet which, from their very nature, do not require
detailed notice, are Edouard Dorn's " Ye banks and braes,"
" Marche heroique," and "Little Nell" (London : Augener & Co.),
.the last of which (the name, we presume, having been suggested by
Dickens's "Old Curiosity Shop") is a particularly graceful and pleas-
ing romance. In the same category, and published by the same
house, are Mr. G. J. Van Eyken's new fantasias on Flotow's Martha
and on three German Volkslieder.. Of the latter, two are by Men-
delssohn ; and the arrangements are all distinguished by the usual
fluency and elegance which characterise Mr. Van Eyken's produc-
tions. Mr. Boyton Smith's four-handed Fantasias on Martha,
Guillaume Tell, and Don Giovanni (Augener & Co.) will be likely,
we think, to equal in popularity the well-known solo fantasias by the
same writer.

" At Midnight," Song; "Throned in the Stars," Barcarole, by
Francesco Berger (London: Ollivier and Co.), like some other
songs by the same composer, recently reviewed in these columns,
are commendably unlike the average run of such music. We have
here no namby-pamby ballads of the Claribel school, but works
bearing traces on every page of cultivation and thought. The song
"At Midnight" is mostly of a very tranquil character, which is
happily relieved by a well-devised episode animato. The Barcarole
is more lively, and perhaps even more likely to be popular, than the.
other song ; but both are excellent examples of a kind of piece
which always is, and probably always will be, in demand. We are
glad to be able to honestly recommend both.

"Serena," a Contralto Song, by Francesco Berger (London :
Metzler & Co.), though certainly interesting both in its subjects and
treatment, is, we must confess, less to our taste than the two songs
by the same composer just noticed. There are some sequences of
perfect fifths on the third page, which, though evidently introduced
designedly, and with dramatic intention, have to our ear an un-
pleasant effect. Still, this is more a flaw to the eye than to the
ear ; and, though not easy to sing well, the song, if adequately
rendered, would be likely to please.

Chappell's Organ Journal, Nos. 9, io(London : Chappell & Co.).
contains two of Handel's songs excellently arranged for the organ
by Mr. J. H. Deane. The first of these is the air " Non vi piacque"
from Siroe, better known under its English name of " He was eyes
unto the blind," in which shape Dr. Arnold introduced it into his
pasticcio-oratorio of the Redemption ; and the second is the well-
known "Oh thou that tellest" from the Messiah, with Mozart's
additional accompaniments. Both arrangements are thoroughly
well done, without being overdone, and organists will find them
very useful as voluntaries.

" Fairlie Glen," Andante Pastorale for the Piano, by Charles
Gardner (London : Lamborn Cock, Addison, & Co.), begins with
a graceful subject in E major, to which the counter-subject in A flat,
though introduced by a somewhat abrupt modulation for a piece of
this character, is in good contrast. The fingering is carefully
marked where needful.

Deux Morceaux Caracteristiques for the Pianoforte, by Charles
Gardner (Lamborn Cock, Addison, & Co.)— why will composers
persist in mixing French and English on their title-pages ?— are two
little pieces which, in spite of their name, we fear we must pronounce
somewhat deficient in distinct character. The first is rather vague ;
the second, which is better, would have been more appropriately
called "Study for the Shake ;" for which purpose we suppose, from
the foot-note at the end, that its author intended it.

" Violet," " The Serenade," by Otto Sondermann (London :
W. Czerny), are two simple little songs in the modern German
style.

" The Round of Life," Song, by Edmund T. Wedmore (Bris-
tol : W. Brunt & Sons), contains one excellent bar — the second on
page 2 — which, by the way, may also be found in No. 3 of the
second book of Mendelssohn's " Lieder ohne Worte."

" Sunshine and Shade," Seng, by J. Alsop (Newton Abbot : J.
Chappie), is not bad, neither do we consider it particularly good.

"Baby, sleep; may beauteous Angels," Lullaby, Part-Song for
Four Voices, by William F. Dyer (Bristol: Dimoline), is a
flowing and neatly written piece, harmonised somewhat after
Spohr's manner. In spite of a certain indecision in the rhythm in
some places, we think it deserves and is likely to attain popularity.

Sanctus and Responses, by a Country Curate (London : Novello,
Ewer, & Co.), make us feel thankful that they are published anony-
mously ; because we should otherwise have seemed personal in
expressing our hope that the " Country Curate's" sermons are not
as dry as his music.

Boat-Song for Piano, by W. Chas. Levey (London : W. Morley),
is very quaint and original, and we may add, thoroughly pleasing.
It is by no means difficult to play.

Evening Prayer (Abendgebet) for the Pianoforte, by ' CARL
Reinecke (London : Augener & Co.), though a mere trifle of only
two pages, shows the hand of the musician throughout. Inform
it resembles some of Schumann's shorter pieces ; but in saying this,
we do not intend to imply that there is any plagiarism. The piece
is in its composer's best manner — in a word, it is a little gem.

MUSIC RECEIVED FOR REVIEW.

Asher, Maria. " L'Etoile du Mer," Morceau for the Pianoforte.
(London : Weippert & Co.)

Borst, A. W. "A Night in the Woods," for Pianoforte. (Liver-
pool : Hime and Sons.)

Gilbert, Bennett. Student's Vocal Exercises for Daily Use. (Lon-
don : W. Czerny.)

Gilbert, Bennett. " A Smile for every Tear," Romance for Tenor
voice, with accompaniments for Piano, Violin, and Harmonium.
(London . Schott & Co.)

Gladstone, F. E. " Happy Thoughts," Two short pieces for
Pianoforte. (London : Augener & Co.)

Hopkins, E. J. Andante Grazioso, composed for the opening of
the Great Organ in the Royal Albert Hall. (London : Metzler
&Co.)

Mandel, C. A System of Music in five parts. (London : Boosey
&Co.)

Mitchell, W. H. "The happy Past," Ballad. (London : J.
Williams.)

Nicholson, A. W. "At the Spring," Song. (London : J. Wil-
liams.)

Tilleard, J. Te Deum, Choral Hymns, &c. (London : Novello,
Ewer, & Co.)

Westbury, G. H. Te Deum in a. (London : Novello, Ewer,
&Co.)

Wright, J. T. " Happy Subjects," National Song. (Glasgow:
Paterson, Sons, & Co.)

Conmts, Set.

CRYSTAL PALACE SATURDAY CONCERTS.

These most enjoyable, as well as most instructive performances,
were resumed for the present season on the 30th of September,
under the direction of Mr. Manns. Following the plan pursued
last year with respect to Beethoven, the managers are giving during
the first twelve concerts of the series now in progress the most impor-
tant instrumental, as well as several vocal/works of Mendelssohn. The
chronological order is to be maintained as far as possible, hearers
being thus enabled to trace the gradual development and ripening
of the composer's talent.

The programme of the first concert commenced with an interest-
ing selection from Mendelssohn's early opera The Wedding of
Camacho, which he composed at the age of sixteen. As the work
of a mere boy, the opera (to judge from the portion performed on
this occasion) is only less wonderful than his octett, or the overture
to the Midsummer Night's Dream. The pieces given were the
brilliant overture, a selection of the Ballet Airs, a duet, and two
songs. The instrumental pieces had been previously played at
Sydenham, the vocal music (if we mistake not) was performed for

i5o

THE MONTHLY MUSICAL RECORD.

[Novem ber I, 1871.

the first time. The Ballet Airs are the most original, imaginative,
and characteristic numbers of this selection. A bolero and a fan-
dango are especially charming ; the national colouring has been
most happily caught, and the scoring is highly ingenious and
piquant. The duet and the songs, excellently sung by Mdme.
Rudersdorff and Mr. Vernon Rigby, are less original and striking,
containing occasional reminiscences — the duet especially — of
Haydn's and Mozart's style. Still, the whole selection was of
more than merely historical interest, and our hearty thanks are due
to the enterprising directors of these concerts for producing it.
The remaining items of the performance were Mendelssohn's First
Symphony, in C minor, which was admirably played, but in which
we think the minuetto was taken very much too fast — the stately old
dance being transformed into a scherzo ; and two of the same
composer's pianoforte works, the first the capriccio in F sharp
minor, Op. 5, for piano alone (not by any means one of its author's
best works), and the second the Capriccio brillant with orchestra
in b minor, which, on the contrary, is one of the composer's most
masterly creations. The pianist was Miss Kate Roberts, who in
both her efforts displayed not merely finished execution, but good
taste. In the very difficult unaccompanied piece she was more
especially successful. Two more songs and the overture to the
Freischiitz completed the programme.

The concert of the following Saturday, October 7th, brought
forward Mendelssohn's "Reformation" Symphony— the second in
the order of composition, dating from 1830, though the fifth in the
order of publication. While containing many beauties (especially
the lovely allegretto in B flat), it cannot be considered equal in
merit to either the symphony in A minor or that in A major ; and
we are hardly surprised that Mendelssohn, the most fastidious of
self-critics, should have kept it back as unworthy of publication.
In saying this, we by no means blame those who, since his death,
have thought otherwise ; for everything from his pen has an
interest of its own, and is heard with pleasure ; and his fame is so
well established that it cannot be injured by the production of any
of his less matured works. The same composer's Rondo brillant
in E flat, for piano and orchestra, and the three Fantasias, Op. 16,
for piano solo (the so-called "Welch" Fantasias), were admirably
played by Miss Agnes Zimmermann. The overtures were the well-
known Midsummer Night's Dream, a more finished rendering of
which it has never been our good fortune to hear, and Sir W.
Sterndale Bennett's imaginative fantasia-overture to Paradise and
the Peri. The vocalists were Mdme. Cora de Wilhorst and Signor
Verger.

At the third concert of the season, October 14th, the special
feature of interest was the performance of Mendelssohn's overture
to the Hebrides in two forms — first as originally composed, under
the title of "Die einsame Insel," and, secondly, in the shape in which
it is familiar to all concert-goers. The manuscript score of the
earlier version was purchased at the sale of the library of the late
Otto Jahn, and the comparison of the two versions of the work is
not less interesting and instructive than that of the second and third
Leonora overtures of Beethoven. Space forbids us to enter into
details with respect to the alterations which Mendelssohn made in
rewriting the work about a year after its first composition in 1830 ;
nor, indeed, would such details be intelligible without quotations
in type. We must content ourselves .with saying that in the later
version there is more freedom of imagination, and less of purely
scientific writing. Many details are also changed — in every case
for the better. The performances of both pieces were very good, as
might be expected from such an orchestra as that of the Crystal
Palace ; though we doubt the wisdom of putting them at the end of
a long programme. The concert commenced with the late Cipriani
Potter's overture to Cymbeline — a work displaying much talent in
construction and skill in instrumentation — which was appropriately
introduced as a tribute to the memory of the worthy musician.
Beethoven's First Symphony in C is so well known that the mere
record of its performance will suffice. Herr Pauer, whose finished
and artistic piano-playing is always heard with pleasure, gave an
excellent rendering of Mendelssohn's Serenade and Allegro giojoso,
Op. 43, and also contributed two solos by the same composer— the
presto (No. 7) from the Characteristic Pieces, Op. 7, and the sixth
of the Preludes and Fugues, Op. 35. The vocalists were Miss
Dalmaine, Mdme. Demeric Lablache, and Mr. Vernon Rigby.

The only fault that can possibly be found with the programme of
the fourth concert, October 21st, is its length ; for a more interesting
selection of music could scarcely have been presented. The piice de
resistance of the afternoon was the First Walpurgis Night of Men-
delssohn, the performance of which was not only satisfactory^ but
really excellent. Never in our hearing has the Crystal Palace choir
sung with such precision, delicacy, and spirit ; and it is the more
gratifying to record this, as the choral performances at these
concerts have frequently been by no means worthy of the instru-
mental. The cantata itself we have always considered one of s

composer's most thoroughly representative and highly-finished
works. The whole of the orchestral accompaniments, as well as
the glorious prelude depicting bad weather in the Hartz Mountains,
and the passage from winter to spring, were played with the
utmost refinement, while the solo parts were efficiently rendered by
Mdlle. Drasdil, and Messrs. Byron and Whitney. Haydn's seldom-
heard symphony in B flat (No. 4 of the "Salomon" set) was a
genuine treat , and created real enthusiasm. Though some of the
passages have lost in freshness by frequent imitation during eighty
years, it must at the date of its first production have seemed a perfect
marvel of novelty and originality. A word of praise is due to Mr.
T. Watson for his excellent playing of the violin solo in the finale.
Schubert's variations from his great quartett in D minor were
played by all the strings of the orchestra. Though in general we
disapprove of the performance of a work in a way not intended by
the composer, we are bound to say that on this occasion the experi-
ment was justified by the result. The concert began with Men-
delssohn's overture to the Meeresstille, and finished with Schu-
mann's to Genoveva, and the rest of the programme was filled up with
vocal music, of which must be specially mentioned Mdme. Ruders-
dorff's fine and dramatic delivery of Randegger's concert-jc^wa
" Medea" — the .composer conducting his own work.

ENGLISH OPERA.

The experiment of giving performances of English operas has so
frequently been tried, and so frequently failed, that it is almost a
surprise to find any one bold enough to repeat the' venture. Never-
theless, this has been attempted during the past month with a com-
pany comprising several of the artistes who sang at the Crystal
Palace Operas during the past season. We cannot spare room for
more than a very brief chronicle of the new undertaking.

The season commenced at St. James's Theatre with a performance
of Balfe's Rose of Castile. The principal characters were sustained
by Miss Rose Hersee, Miss Palmer, Mr. Perren, and Mr. Temple.
To this succeeded the same composer's Bohemian Girl, in which
Miss Hersee as Arline was particularly successful. Mr. Nordblom,
though suffering from indisposition, acquitted himself well in the
principal tenor part, and Miss Palmer (who is not only well
known as a good singer, but also an excellent actress) and Messrs.
Temple, Staunton, and Maybrick completed the cast.

On Wednesday, October 4th, Lucia di Lammcrmoor was per-
formed (of course in English), when Mdme. Lancia took the part of
the heroine, and Mr. Nordblom that of Edgar.

Lucia was followed by Wallace's Maritana, in which Miss
Hersee was again very successful ; the opera being afterwards
repeated with Mdme. Lancia in the principal part. The repertoire
has also included the Sonnambula, Trovatore, and Martha. On
the 23rd ult., the company migrated to the Standard Theatre. We
must not omit to add that the post of conductor has been very ably
filled by Mr. Sidney Naylor, and that the small but efficient orchestra
is led by Mr. Burnett.

MONTHLY POPULAR CONCERTS, BRIXTON.

These interesting concerts, which are most valuable for training
the public taste for the appreciation of good music, were resumed
for the present season on the 26th ult. The pressure upon our space
will admit of no more than a mere record of the works performed.
The concert opened with Haydn's genial Trio in G major, No. i,
with the well-known and popular ' ' Gipsy Rondo " for a finale,
capitally played by Messrs. Ridley Prentice, Weist Hill, and Pezze.
The programme also included E. Prout's Pianoforte Quartet in C
major, a work which has been several times performed in London,
and which was very well received, Beethoven's so-called "Sonata
Pastorale," and solos for the piano by Scarlatti, played by the
concert-giver, Mr. Ridley Prentice, a violin solo by Spohr, violon-
cello solos by Schumann, and vocal pieces contributed by Madame
Dowland. The whole concert was worthy of even more than the
amount of support that it received.

Mi&it&l &ott$.

M. Riviere's series of Promenade Concerts, which were briefly
mentioned in our last number, have been continued and brought to
a close during the past month.

We regret to have to record the death of Mr. Cipriani Potter on
the 26th of September last, at the age of seventy-nine. For many
years he was Principal of the Royal Academy of Music, and his
name will long be remembered as one of the most eminent English

November i, i87i.] THE MONTHLY MUSICAL RECORD.

151

musicians of the present century. His compositions invariably
show true artistic feeling and knowledge, and his influence as a
teacher on the younger generation of pianists can hardly be over-
estimated.

Mr. Barney has issued his prospectus for the coming series of
Oratorio Concerts. They will beheld this season* in Exeter Hall.
Among the works announced for performance are Bach's Passion
according to Matthew and Handel's Jephtha, besides what we may
call the stock-pieces of oratorio performances. We are sorry to see
no announcements either of new works or revivals. Surely Mr.
Barnby does not intend to rest on his laurels !

We have received a prospectus of the "College of Musicians "—
an enterprise which, if its promises be fulfilled, deserves cordial
support. One chief object of the institution is " to give publicity to
and performance of works of merit by living English composers."
Classes are established for the practice of choral and orchestral
music, as well as for the study of harmony and composition.

At the recent meeting of the Social Science Congress at Leeds,
Dr. Spark, the talented organist of the Town Hall, read an excel-
lent paper on "Vocal music a necessary branch of education."
Had our space allowed, we should have gladly given our readers
an abstract of it, but as it is printed, we must content ourselves
with referring them to it.

Mr. John Spencer Curwen, the son of the Rev. John Curwen,
has lately published a very interesting pamphlet entitled, "The
Story of Tonic Sol-Fa," which gives a clear and well -written
account of the origin and progress of one of the most important
musical movements that has of late years taken place in this
country. It is well worthy of the attention of our readers.

Mr. A. J. Sutton, of Birmingham, is engaged upon the com-
position of an oratorio entitled Ruth. The subject seems to have
special attraction for composers, having been recently selected for
musical treatment by Mr. Otto Goldschmidt and Mr. George Tol-
hurst — the setting of the latter being one of the most strikingly
original works of the present day !

The Singakadcmie, of Berlin, announced for performance during
the coming season, Bach's High Mass in B minor, Handel's Athalia,
and Spohr's Calvary. When will any one of these three works be
heard in London ?

Organ Appointments.— Mr. Martin Schneider to St. John's
Church, Bootle, Liverpool. Mr. W. T. Freemantle to St. Andrew's

Church, Sharrow.

TO CORRESPONDENTS.

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AN ANDANTE GRAZIOSO, composed expressly
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inscribed by Edward J. Hopkins. Reduced price, is. 6d.
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THE TEMPLE TUNE-BOOK, containing Psalm
and Hymn Tunes by the most celebrated Composers, past and
present. Division I., Old English, to about 1750 (in buff wrapper). Divi-
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THE CAMBRIAN WAR-SONG." By Brinley
Richards. — " Mr. Richards has employed the resources of modern
art to enforce his theme, and we are bound to say with excellent effect. The
first verse is set to a stirring theme in B minor, which is marked by very bold
progressions. Following the sentiment of the words, a happy change is then
made to the key of E major, and to graceful legato phrases. The third
verse brings back the minor key, and displays skill as well as knowledge
of effect. Altogether, the song is one of Mr. Richards's most vigorous
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152

THE MONTHLY MUSICAL RECORD.

[November I, 1871.

CLASSICS FOR THE PIANOFORTE.

BOUND IN VOLUMES. FOLIO SIZE.

SUITABLE FOR PRESENTS.

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CHOPIN. Ten Waltzes. Bound in coloured cloth, gilt sides and

edges Net o 10 6

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MENDELSSOHN - BARTHOLDY. Songs Without Words.

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London : AUGENER and CO., 86, Newgate Street.
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SONGS WITH ACCOMPANIMENT OF THE
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ADAM, A. Christmas Song. With Piano and Harmonium (ad lib.) £ s. d.
No. 1 in C, No. 2 in B flat . . . . . . . . . . each 026

ALEXANDER, J. Vireta. Song, with Piano and Violin ..026

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companiment by E. Prout .. .. .. .. .. ..030

HATTON, J. L. When Lovers say " Good Night." With Violin

or Tenor .. .. .. .. .. .. .. ..030

HORSLEY. Evening ar. With Flute 026

Two Songs. With Violoncello or Tenor : —

No. 1. Serenade, "Dost thou hear?" o a 6

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No. 1. Secret Sorrow .. .. ., .. .. .. ..030

2. The Streamlet . . .. 030

3. Regret 030

— Home of Love. For Soprano, with Flute, or

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K.USTER, G. Doubt and Faith. Song, with Piano Accompani-
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or Violin, or Violoncello .. .. .. .. .. ..030

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2 6

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Happy Thoughts come o'er me stealing

The Reason Why. Ballad

The Sentinel. For Bass

Sing, pretty Bird

Sing ! Who Mingles with my Lays ! 1, in F ; 2, in G. Each

Why Ask me to Sing ? Ballad

When Lovers say *' Good Night." Serenade : —

No. 1.— In the Key of F

2.— „ D fiat ...

3- — ,, F (with Violin or Tenor Accompani-
ment)

The Wild Mountain Horn

Vocal Duets.

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Tell her I Love the very Air she Breatheth

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Wilt Think of Me? 030

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SACRED VOCAL MUSIC.

£ s. d.
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by Pittman, bound in 1 vol. .. .. ..' .. .. ..050

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No. 7. Epiphany.

8. Lent.

9. Easter.
10. Whitsuntide.

No. 1. Morning
t. Evening.

3. Sunday Morning.

4. Sunday Evening.

5. Advent.

6. Christmas.

11. Ascension.

12. Trinity.

——— Six Sacred Songs by Gellert : —

1. O God, thy Mercy (Bitten)

2. God is my Song (Gottes Macht und Vorsehung) .. ..

3. Love thy Neighbour (Die Liebe des Nachsten) .. ..

4. Life is passing (Vom Tode) . . . .

5. The Heavens declare Him (Ehre Gottes)

6. Against Thee only (Busslied)

CLARK, F. S.

1. Kyrie Eleison and Sanctus in E from Communion Service

No 1. Vocal Score .. .. .. .. .. _..

2. Kyrie Eleison and Sanctus in A from Communion Service

No. 2, Vocal Score

3. Jerusalem the Golden, and " For thee, O dear, dear Coun-

try." Compressed Score . . . . ....

4. Magnificat and Nunc Dimittis. Chant Service in F
• "He shall convert my soul." Sacred

Song, from the 23rd Psalm
Never, my child, forget to pray. Song .

MOLIQUE. Six Sacred Songs, Op. 48, cpl

No. 1. The Heavenly Rest . .

2. It is the Lord

3. Commit thy Ways ur.to the Lord

4. Litany

5. The Song of Deborah

6. Saturday Evening ..

Six Duets for Female Voices, Op. 49, complete

No. 1. When Sunbeams gild the briny Wave

2. The Providence of God

3. Mourn, Warriors of Israel

4. The Seasons . . . . . . . .

5. The Rose

6. His greatness is unsearchable
Six Trios for Two Soprano and One Alto Voices,

Op. 51
No. 1.
2.
3-
4-
5

God careth for us . . . .
Leaned on Jesus' Breast . . . .
Autumn Evening
Rise up, my love, and come away
Song written in the sixteenth century

6. The never-failing Friend

London : AUGENER & CO., 86, Newgate Street.

December i, 1871.] THE MONTHLY MUSICAL RECORD.

153

%\t lifrmijjlg Itakad g^nrrir.

DECEMBER 1, 1871.

THE INFLUENCE OF AMATEURS ON
MUSICAL ART.

In the few remarks we propose to make on this important
subject, we shall use the word " amateur " in its widest
signification, as including all those who pursue music
merely as an amusement, and not as a profession. In
one sense, nearly the whole of our educated population
would be comprised in this definition, since there are
very few who are not to a certain extent " fond of music,"
while the number of those who have some practical ac-
quaintance with it may probably be reckoned by hundreds
of thousands. Of late years the general diffusion of
musical knowledge, both among performers and listeners,
has so largely increased', as to exert a powerful influence
on the art. Such influence has, on the whole, been cer-
tainly beneficial ; and we shall endeavour in this article
to notice a few of the more important respects in which it
has reacted on the study of music.

And first, we may safely say that, but for the support
of amateurs, the best class of musical entertainments
would mostly, if not entirely, cease to exist. The
Handel Festival Choir, the chorus of the Sacred Har-
monic Society, Mr. Barnby's and Mr. Leslie's choirs,
and other similar societies, consist chiefly of the better
class of amateurs ; and without their aid the per-
formance of the best choral works would be impossible.
Who, again, are the most regular frequenters of the
Monday Popular Concerts, of the Crystal Palace Con-
certs, and others of the same class ? Not professional
musicians, though a certain proportion of them may, of
course, be found there. But teachers and performers
have in general but little leisure for attending concerts,
and sometimes, we must add, but little inclination also.
The bulk of the audience is unquestionably composed of
amateurs — not merely of those who attend such concerts
because they are fashionable, but real enthusiastic lovers
of good music. The proof of this is that they are mostly
to be found, not in the stalls, but in the unreserved seats
often following, score in hand, the performance of a
symphony or a quartett, and not unfrequently fully quali-
fied to pronounce critically on the merits of a new com-
position or performer. It would, of course, be absurd to
assume that all our audiences are composed of such
hearers ; but we venture to think that, at all events at the
better class of concerts, the majority of those present are
actuated in coming by a true love of art for its own sake.

While we are on the subject of concerts we will advert
to another class of hearers, also to be found largely
among our audiences — those who come not for the sake
of the music, but for the performers. There are many
who will go to hear a public favourite, no matter what he
12

may sing, to whom the announcement of a newly-dis-
covered symphony by Beethoven would be no attraction.
It is chiefly to such hearers that we must attribute the
success of the " royalty " system, which is such a disgrace
to musical art in this country. No matter what trash
maybe sung, if it be only a popular singer who performs
it, it is sure to be applauded. Nay, more, we fear that
with many, the more vapid and commonplace the music,
and the less demand it makes on the intellect, the better
it is appreciated. And the misfortune is that there seems
but little chance of ameliorating this state of things ; for
such hearers, whose taste might probably be improved
by listening to really good music, will not take the trouble
to go to hear it, but content themselves with calling it
"dry."

The fact that in the present day a certain knowledge of
music is considered an essential part of education, at all
events for ladies, is of great advantage to the profession,
as giving employment to thousands of its deserving
members. It is self-evident that but for amateurs very
few musicians would be able to earn a livelihood at all.
The salary paid to an organist in one of our churches or
chapels is, in general, entirely inadequate by itself as a
source of income ; and the demand for performers,
whether orchestral players or pianists, is comparatively
so limited that in most cases the dependence of the
musician must be chiefly on his teaching. True, the
fact that so many learn music merely because it is
fashionable has its disadvantages. Most teachers have
suffered from pupils who have neither ability nor desire
to learn, and for whom the hours spent in the practice of
the piano or singing are virtually so much time wasted.
We know a case of a young lady who once said to her

teacher, "Now, Mr. , I hate music; but mamma says

I must learn, so I have come to you." This is, we
imagine, not a very uncommon case, if the truth were
known, though but few would acknowledge it so frankly.
Nevertheless, in spite of this drawback, the almost uni-
versal learning of music in our day is undoubtedly bene-
ficial. Many there are in whom the love of the art exists,
though at first latent, and in whom, by judicious teaching,
even enthusiasm can be kindled.

Amateur composers are too numerous and too im-
portant a class to be passed over in silence. We find
them in every part of the musical field. From the sym-
phony and the quartett to the simplest pianoforte piece,
from the ballad to the oratorio, there is perhaps no kind
of composition which they have not essayed ; and some
amateur composers, men of thought and musical educa-
tion, are capable of producing, and do produce, works
which command the respect of the musician. But for the
larger part of such compositions we fear little can be said
that is favourable. We do not so much complain of the
prevalence of what is commonplace, for that is by no
means peculiar to musicians, though we confess ourselves
unable to see why a man should write if he has nothing

i54

THE MONTHLY MUSICAL RECORD.

[December i, 1871.

to say. But our chief grievance against amateurs is that
in a very large number of cases they attempt to compose,
not merely without any musical ideas, but without the
slightest knowledge of harmony. No one in his senses
would attempt to write French or German without having
studied the grammar of the language ; yet many amateurs
seem to think that as soon as they can put together a few
notes on a sheet of music-paper they are able to compose !
Of the result let the unhappy reviewers who have to
wade through page after page of inanity, and worse, bear
witness ; it may also be seen in the huge piles of unsold
music which cumber the shelves of our warehouses — pro-
bably, also, ultimately at the butter shops ! Not long
since we inquired of one of our largest publishers as to
the fate of a piece of this class which he had issued. The
answer was precisely what might have been expected,
" We have not sold a single copy ! "

There is yet one more capacity in which amateurs are
frequently to be met with — that of critics and writers on
music. In this department it is, we think, indisputable
that in one respect the competent amateur possesses an
advantage over the professional musician. Many of these
writers, clergymen and others, have had an education
superior to that of most musicians, who have too often
but scanty opportunities for acquiring a knowledge of
subjects outside their immediate vocation. When to a
competent knowledge of music is joined an acquaintance
with science and literature, it is evident that the result
must be superior to that produced by the knowledge,
however thorough, of music alone. And some of the
criticisms of amateurs (such, for instance, if he will
pardon a personal reference, as those of the accomplished
annotator of the Crystal Palace programmes) are among
the best we possess. They give us the views not merely
of technical musicians, but of men of cultivated taste and
intellect. But there is also another side to this question.
We have not only qualified, but also utterly incompetent
musical critics among amateurs, who show that they
understand nothing of the subject by the almost incredible
nonsense that they write. For the amusement of our
readers we will give an instance of this. In the columns
of one of our contemporaries, which shall be nameless,
but which is commonly reported (we hope, for the credit
of the profession, correctly) to be the organ of amateurs,
we were informed, in their account of the recent Beethoven
Festival at Bonn, that Charles Halle played the concerto
in E sharp! while a subsequent number (as if to prove
to the satisfaction of its readers that this egregious
nonsense was not a printer's error) spoke of the perform-
ance of Beethoven's quartett in F-Jlat, and his sonata in
A sharp! The value of the musical criticism of such a
paper may be readily imagined. Happily we believe
such utter incompetence to be quite unique.

There are other points that might be brought forward
which are of considerable moment, especially the vexed
question as to how far, and under what circumstances,
amateurs are justified in holding important musical ap-
pointments ; but into this and other matters our space
forbids us at present to enter. We have merely in this

paper glanced at a few of the more important bearings of
the subject, and must here leave it to the consideration of
our readers.

HANDEL'S OBLIGATIONS TO STRADELLA.

BY EBENEZER PROUT, B.A.

IN our last number I laid before the readers of the
RECORD an analysis of Urio's Te Deum, showing the
extent to which Handel made use of it, especially for his
Dettingen Te Deum and Saul. In the present article I
propose to bring under their notice another work, often
referred to by those who have studied the subject, but
which, being at present unpublished, is wholly inacces-
sible to musicians in general. This is a " Serenata a 3,
con Stromenti," by Alessandro Stradella. The tragic
history of this composer is generally known ; it will be
sufficient here to say that he was born at Naples in 1645,
and assassinated at Genoa in 1678. The autograph of the
serenata now about to be noticed is in the Royal Library
at Berlin, but a manuscript copy of the score is at present
in my possession. My readers must not expect to find the
same amount of plagiarism from this work that was met
with in Urio's case ; still there are several very remark-
able passages, which will be brought under their notice.

The serenata is in the dramatic form, the characters
(as may be inferred from the title) being three in number.
A lady is serenaded by two rivals, each of whom comes
with a small orchestra in a coach ! We find throughout
the score such indications as " Concerto del imo Cocchio,"
"Concerto del 2do Cocchio" — that is, "Concerto of the
first coach," and " Concerto of the second coach." Be-
sides this there is the "Concerto della Dama" — the lady's
band, which accompanies her solos. Nearly every move-
ment is accompanied by a double orchestra, and though
no instruments are named in the score, it is evident that
the first and smaller orchestra (usually marked " Con-
certino") consists of two violins and a bass; and the
second, or " Concerto grosso," of a string band of four
parts. The serenata ends with one of the lovers aban-
doning the pursuit in despair, the last movement being a
duet between the quondam rivals, in which one says,
" Sprezzar la donna e male" (To scorn the lady is bad),
and the other rejoins, " Amarla e peggio " (To love]\her is
worse) !

But to come to the music. The serenata opens with a
long si)ifonia in three movements, all of which Handel
has used for his oratorios. The opening portion will be
at once recognised as the commencement of the " Hail-
stone " chorus in Israel in Egypt,

Cone. 2. ,-x _ ,-. _ C. t.

December I, i87i.3 THE MONTHLY MUSICAL RECORD.

155

Handel's continuation of the same passage will be met
with later in the Work. It will be seen in the above ex-
ample that the two orchestras answer one another exactly
as in Handel's score the oboes and bassoons converse
with the strings.

The subject of the second movement would probably
pass unrecognised by most readers, as it is used in one
of Handel's least-known oratorios. It is almost note for
note identical with the chorus in Joseph, " Joyful sounds,
melodious strains," Handel having merely transposed it a
note lower to the key of C.

wyr-r^r^^^^^^

J F=M

Tntti.

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^^^^

, C3 i.2 i i 1

Those who have the opportunity of referring to the
score of Joseph will see that the resemblance is far too
close to be accidental. Handel leads with the soprano
voices alone, and then takes his subject as the bass, pre-
cisely as Stradella has done.

The third and last movement of the sinfonia Handel
took for the" subject of another little-known chorus, " Him
or his God we scorn to fear," in the first part of the Occa-
sional Oratorio. The resemblance here is certainly not
less striking than in the other two movements, even the
inversion of the subject having been copied ; but in order
to leave room for the quotation of better-known passages,
I must forbear to give it.

The two lovers having finished their introductory
serenade, the lady from within the house sings a recitative
and air, very Handelian in style, which is followed by
two songs for the rivals. The first lover is, to judge from
his music, a quiet, gentlemanly sort of fellow, with a
soprano voice — such an apparent anomaly being in ac-
cordance with the taste of the times. Fifty years later, in
Handel's works, the principal hero of the opera or of the
oratorio was frequently a soprano, or mezzo-soprano, as
(to take one of the best-known instances) in Solomon.
The second lover is, on the contrary, a fierce, blustering
bully, somewhat of the Polyphemus type ; and through-
out the whole work the contrast of the two characters is
well sustained, reminding one somewhat of Handel's
treatment of the parts of the two Elders in Susanna.

• After the two songs for the lovers follows a duet, ac-
companied merely by a figured bass, which is somewhat
old-fashioned in style, and in places recals parts of Pur-
cell's King Arthur. To this succeeds another long air
for the lady, the last part of which supplied Handel with
the material for his chorus in Israel. "And believed the
Lord."

The next movement, a symphony for double orchestra,
gives the most flagrant instance of wholesale robbery to
be met with in the entire work. It is twenty-seven bars
in length, and the entire piece, with scarcely the change
of a note, has been transferred to Israel in Egypt, where
we find it as the chorus, "He spake the word." Stradella's
symphony begins thus —

Cone. 2. Cone. 1.

SiB2=£|

egffce£p£gj*|^^^

Handel has merely added the descriptive violin pas-
sages to this ; the harmony and the sequence of chords
"in both works is absolutely identical. The concluding
bars of the same movement furnished Handel with the
passage, "And the locusts came without number, and
devoured the fruit of the ground."

HfciPipg

C. 2. C

C.2.

JUJt

Lgn*

The intermediate part of the symphony (which is not

156

THE MONTHLY MUSICAL RECORD.

[December I, 1871.

quoted) has been just as literally transferred to Handel's
chorus as the bars given as examples. It is really diffi-
cult to know what to say or think of such barefaced
robbery, for it can be called nothing less. And Handel's
boundless fertility of invention makes it only the more
surprising, since there would seem to be absolutely no
necessity for his borrowing the thoughts of others.

After another song for the lady follows an air for the
first lover, " Io pur seguiro," the subject of which Handel
has used (again in his Israel) in the chorus, " But as for
phisl.'pee 'o Stradella's air opens in the following man-
ner : —

W^E^-

When the first lover has expressed his intention of fol-
lowing the lady, the second sings an air, " Seguir non
voglio piu," declining to do anything of the kind, the
opening symphony of which is to be found in the " Hail-
stone" chorus of Handel's Israel.

f-f— :-l 1_ <M— -1 1— 1 1 ! 1— I I M— ■ — I I I jl I I

- 1 , , , , , 1 1 i 1 1 : • &c-

=S=i

mm^m

Another passage in the same chorus, at the words " ran
along upon the ground," seems to be taken from the fol-
lowing phrase of this song : —

The short duet for the two lovers already referred to
brings the serenata to a conclusion.

The general impression produced by a reading of the
whole work is that the writer was a man of unquestion-
able dramatic power, and endowed with considerable in-
vention. The serenata is written in the style and to suit
the taste of a bygone age, and would be far too old-
fashioned to bear revival ; but perhaps no stronger proof

of its real musical value could be given than the fact that
Handel appropriated so much from it. As to the artistic
morality of such a procedure, and how far a musical giant
is warranted in, so to speak, picking all the plums out of
the puddings of smaller men, it is perhaps best to express
no opinion. Every reader can judge for himself. I have
confined myself to a simple record of facts, and the notes
speak for themselves.

INCIDENTS OF FRANZ LISZT'S YOUTH.

COMMUNICATED BY C. F. POHL.

•)

(TRANSLATED FROM THE MUNICH PROPYLAEN, I?

(Continued fivm page 1 46. )

The following letter of Liszt introduces us to England
and the musical world there. The reception of the
juvenile artist was still more enthusiastic — the francs
became pounds. The reception at the Court recalls
vividly a similar distinction which was bestowed on the
Mozart children under King George III. His son,
George IV., who spent the last years of his life in much
suffering at Windsor Castle, was the same before whom
Haydn, especially on his second visit to London (1794 —
95), directed a great many concerts. The heir to the
crown (George Frederick Augustus, born 1762, died 1830),
at that time leading a very dissipated life as Prince of
Wales, was himself very musical, and proved himself at
the musical performances at his palace, Carlton House, a
zealous violoncello-player and singer, and kept an ex-
cellent orchestra and also very good military bands.
Prince Paul Esterhazy was the successor of Prince
Nikolaus (died 1833), under whom the famous Esterhazy
Kapelle, soon after the death of Haydn, passed through
many changing periods, and dwindled at last to an almost
contemptible state. That Prince Paul should only become
acquainted in a foreign country with the genial son of
his own servant, born at one of his own possessions
(village Riiding), is significant enough. And yet the
wonder-boy, "Zizy,"was not only esteemed as performing
artist, but was working already at a French opera, Don
Sanche, which was intended for the great Opera-house at
Paris, as we see from the last lines of this in many points
interesting letter, which also informs us, with eloquent
words, of the preference with which Liszt performed at
that time Czerny's compositions, and the favourable im-
pression they made on the public.

THIRD LETTER.

London, July 29th, 1824.
Esteemed Sir, — Your valuable letter of the 3rd of
June I have received here ; our delight about it was
boundless, and we desire nothing more than to have also
the music you so kindly forwarded, but up till now this
was impossible. The reason of my long silence was no
other but that I wished to write to you a great deal,
and describe everything very minutely, which could
not be done sooner. When we arrived in London we
had to surmount many more difficulties than in Paris.
One reason was that we arrived too late, when the season
was too far advanced, and the soire'es already arranged ;
the second was, that the artists here— to whom however
Herr Ries made an honourable exception — did nothing
whatever for us, and especially Kalkbrenner deserves to
be mentioned ; but, as you know, the good cause cannot
be suppressed for long, and the victory is all the more
glorious. On the 21st of June we gave our first concert
(a second we could not manage, as already too many
concerts were arranged), to which I invited Messrs.
Clementi, Cramer, Ries, Kalkbrenner, who duly appeared,

December r, 1871.]

THE MONTHLY MUSICAL RECORD.

157

besides them the first artists of London ; and we made —
although my boy was little known, and on the same
evening another concert and a benefit performance at a
theatre for one of the first Italian lady singers took place,
and lastly the expenses were enormous — for all that a
clear profit of ^90, which amounts to about 720 florins
in Austrian money. The consequences of this concert
were not only important for the fame of Franzi, but also
as regards our pecuniary affairs, because we were soon
over head and ears in work, and we gained by mere
soire'es (5 guineas for a soiree, sometimes more, and at
the French ambassador's alone, ^20), together ^172,
about 1,376 florins in Austrian money. The day before
yesterday we had the high honour to be presented to his
Majesty the king, which took place at his summer palace
at Windsor. It was at a soirde arranged by but a few
ladies and gentlemen ; only Franzi played, and for over
two hours. First he played the variations in E flat, by
you, which pleased everybody ; immediately at the intro-
duction his Majesty was pleased to say, " In all my life
I have never heard the like." At the close the highest
praise was expressed on all sides. Then his Majesty was
pleased to give the minuet from Don Giovanni as a theme
to be extemporised in a fantasia, and his working it out
caused the highest degree of surprise from all sides ; and
his Majesty was pleased to repeat several times in
English, German, and French, " Never in my life have I
heard the like ; this boy surpasses Moscheles, Cramer,
Kalkbrenner, and all the rest of the great piano-players,
not only in execution and rendering, but also in the
wealth of ideas and the way of carrying them out." (You
must know that his Majesty himself is musical, and a
great admirer of music.) On this occasion also Prince
Paul Esterhazy was present, and heard Franzi for the
first time ; the rest you can guess. We stayed over-night
at Windsor ; early on the following day, his Majesty was
pleased to express again his highest and most complete
satisfaction through a chamberlain, and present us with
a cheque for ^50. We then went to see all the sights of
Windsor, which surpass all expectations in every respect ;
and I do not dare to give a description of them ; it would
be labour in vain ; such things one must see with one's
own eyes. But I cannot part from Windsor without
mentioning that we found in his Majesty the greatest,
most kind, and affable sovereign, and real connoisseur of
music. It is impossible to describe the hearty kindness
with which his highness was pleased to address us, and I
can candidly assure you that the whole gain in England
is only a trifle to me compared with this high grace and
distinction; and I and my son find ourselves quite happy.
I had the intention to return to-morrow to Paris, but I
could not avoid an invitation made a long time ago to
go to Manchester. We shall, therefore, go there to-
morrow, and Franzi will play on the 2nd and 4th of
August at the theatre, for which we shall receive .£100 ;
when we return from there we go directly to Paris, where
we shall stay next year up to the middle of March, and
then go again to London, where we have prepared a
splendid future.

Something I must tell you of the London artists. My
expectations, which I had before I became personally
acquainted with them, were not at all realised, and I
found them partly like good preachers, who preach

morals to others, but I will be concise, and say,

jealousy and envy ! We are glad to come back again to
Paris, where the prospect of returning next year to
London will again be pleasant. At present nothing is
to be done here, everybody being in the country. And
now, my dear Herr von Czerny, I come again to the point
to ask you, have you thought of uAdertaking the journey

to Paris ? As a matter of course you would then also join
us in the journey to London. In London you would do
a fine business ; Franzi has played in all societies your
works, and particularly before the royal princesses, with
great success ; your Polonaise has even been reprinted
here, because he played it first before the royal princesses,
and on the title-page appears, besides the rest, " played
before the royal princesses by young Liszt." The work
found a ready sale. If you would accept lessons we should
not be in want of connections, and I must tell you that
I was tormented without pity to let my son give lessons ;
people were ready to pay me more than to all others, but
I refused it firmly, and always answered, "My son is in
want of instruction himself." Mr. Ries has left London
for ever, to live with his father near Bonn, in the country.
A guinea is paid for a lesson, and, although the greatest
masters live here, but seldom one finds a well-instructed
pupil, such as you meet with often in Paris. Piano-play-
ing is still almost in infancy, although the nation, par-
ticularly ladies, love music enthusiastically, and in every
house are instruments and music to be found in pro-
fusion. Besides, you find in London what is not to be
seen anywhere else — wealth, order, cleanliness, treasures
of pictures, books, &c, in every house. A trip on the
Thames surpasses everything ; there you can see the
wealth England possesses through the water. Whether
you see a village, a large or a small town, everywhere
you meet wealth, cleanliness, and order. Who has not
seen England has not seen the greatest treasure of the
world. The people are very obliging, and the country
resembles a real paradise. It is not cheap to live here,
but money is plentiful. I must tell you still what the
expenses are usually for a concert : — A room costs 30
guineas, the orchestra 35 guineas, printer 5 guineas,
newspapers 26 guineas, tickets 9 guineas and a half,
together 109 guineas and a half, and which amounts to
about 916 florins in Austrian money. You know what
we realised by our concert, and you will perceive that the
expenses amount to more than whafwas left to us ; and
for all that there are daily concerts in abundance. The
young Aspull, of whom I read already in Paris extra-
ordinary things (George Aspull, at that time eight years
old, showed an immense talent for music ; nevertheless
Liszt's prediction became true— he has disappeared !),
gave his second concert for this season ; he played your
concerto arranged for the pianoforte. In his playing I
found nothing from all I had read; even the applause was
very moderate. Later Aspull paid us a visit, and played
small variations to us, from which I came to the con-
clusion that the boy possesses much talent, but is
wrongly led, and if he remains in the same hands is
never likely to become great. I pity him much, because
he is an amiable boy, and very well behaved, though a
little shy. Franzi plays and scribbles with a will. His
play may meet your approval ; he plays clearly and with
expression, and his mechanism is developed to a high
degree. I continue to let him play scales and studies,
with the use of a metronome, and do not part with your
principles, the success proving to me that they are the
best. In extemporising he has' brought it to a degree
astonishing for his age. Of compositions he has already
finished two rondo di bravura, which they would like to
buy here, but I do not part with them ; one rondo, one
fantasia; variations on several themes, an amusement,
or rather, quodlibet, on different themes by Rossini and
Spontini, which he played with great success before his
Majesty. His principal work is, however, a French
opera, Don Sanche, ou le Ch&teau d' Amour. This subject
was written on purpose for him ; with exception of the
recitatives, he has composed everything here, and having

158

THE MONTHLY MUSICAL RECORD.

[December i, 1871.

in several societies sung part of it, it became known also
to his Majesty, and he was asked to produce something
from it, and met with the greatest applause. I am rather
curious what the result will be when he has finished the
whole. One thing is certain, that the opera is to be
performed in Paris at the great Opera-house ; however,
you shall have full particulars in due time. I have the
desire to write still a great deal to you, but unfortunately
there is no more room. We send our hearty greetings
and kisses to you and your dear parents, and esteem our-
selves favoured to be able to say that we are, — Yours, &c,

Liszt.
For the music you sent, our best thanks ; from Paris I
shall write more about them. I beg you to let us hear
from you as soon as possible, and direct to Paris, Adam
Liszt, Rue du Mail, No. 13, and 21, chez Messrs. Erard,
Facteurs de Pianos et de Harpes.

FLY-LEAVES FROM THE PORTFOLIO OF AN
OLD SCHOOLMASTER.

{Continued from page 144.)

III. On Drawing-room Music {continued).

If we follow the course of pianoforte works, we shall find
that after Schubert less and less sonatas were written. It
is perhaps worth while to examine what may be the
reasons for this gradual shortening of the musical forms.
It may be partly accounted for by the more general use
of the pianoforte. Vienna possessed at the time of
Beethoven and Schubert about four good piano-makers.
Cottage pianos were at the time not used, scarcely
invented ; square pianos were always treated with con-
tempt by the Viennese public. About 1830 the number
of piano manufacturers increased greatly, not only in
Vienna, but also in Paris ; by the greater competition
the instruments became cheaper, and a greater part of
the public took to buying them. Formerly, a papa granted
a grand piano only when his daughter or son snowed real
and great talent for music ; later, the less-endowed
children received also instruments ; it became a fashion
to have a piano in the house. By this more general use
it was quite natural that people with but an indifferent
taste took to piano-playing. Such people rarely took
pleasure in playing a sonata of four movements, " it being
not amusing." The heroes of the variations and melanges,
Abbe" Gelinek, Carl Czerny, Henry Herz, Hiintcn, &c,
appeared. There was an enormous demand for their
works. Every opera produced in Paris or Vienna
brought two or three dozen fantasias or divertissements.
But even before this deluge of "fantasias without fantasy,
and divertissements without diversion" broke in upon the
musical public, there were already indications of the
programme music. The effect which Daniel Steibelt
produced with his battle-pieces, like " Le Combat Naval "
(Op. 41), " La Bataille de Gemappe ct de Neerwinde,"
" The Destruction of Moscow," and of his well-known
" Orage, prdcdde" d'un Rondeau pastoral," was enormous.
The descriptive pieces were the fashion, and many com-
posers followed Daniel Steibelt's example. It was quite
natural that the public demanded such amusements also
from the orchestra. Our young people are perhaps not
aware that the old Vienna pianoforte had sometimes six,
in some instances also seven pedals : one pedal was a
little bell, a second a triangle, a third was the " pedale di
Fagotto " (merely a cardboard lined with silk), a fourth
was the " gran cassa " or big drum— the two last were our
present pedals. All these effects could be multiplied in
the orchestra. In addition, Vienna possessed an institu-

tion of garden concerts, which have only lately been
imitated in Berlin, Paris, and other large capitals. The
Volksgarten, the Augarten, and other public places for
amusement in Vienna demanded a lighter kind of music.
Even before the time of Strauss and Lanner, Vienna had
orchestras in the Apollo Saal, in the Hotel zur Birne,
&c. &c. ; and we find that Mozart, Hummel, and Beet-
hoven composed waltzes for these places. Fantasias,
potpourris, and melanges were played by the full band,
and were found more practical and more suitable for the
kind of amusement going on in these favourite places of
riunion than symphonies or overtures. When the really
excellent dance music of Lanner and Strauss appeared, it
met with such universal approval that the former longer
pieces of programme music had to give way to the
enticing and almost irresistible strains of the two favourite
Viennese waltz composers. But the programme music
was not to be forgotten ; it was to be carried out by
eminent composers, and they reaped great success by
their excellent works, and enriched the literature of our
orchestral music.

It will be admitted that the symphony is for the or-
chestra what the sonata is for the piano. It has been
shown that our best authors favoured smaller forms for the
piano ; therefore it is not astonishing that they would try
the same process also with the orchestra. The overture took
the place of the fantasia ; and so it may be accounted for
that the drawing-room music influenced orchestral music.
Mendelssohn's beautiful overtures, " Calm Sea and
Prosperous Voyage," "The Hebrides," "The Fair Melu-
sina," are, at least to our mind, fantasias for the orchestra ;
in the same manner are Gade's fine overtures, " Nach-
kliinge aus Ossian," and " Im Hochland" fantasias. The
form of the former overture is extended, the subjects more
important, and worked out in greater length. But, above
all, these fine works possess a characteristic tone and
colour hitherto unknown. The expression of the splendid
opening of "Calm Sea and Prosperous Voyage" finds
only a parallel in the opening of Beethoven's fourth sym-
phony in B flat ; on the other hand, the colour of the
" Hebrides " is quite unique in its way. It is very interest-
ing to observe how in our musical art the noblest produc-
tions emanate from the most unpretending, sometimes
even vulgar form. Bach and Handel have made the
"Jigg" a splendid form; the sarabande, allemande,
courante, gavotte, and bourrde have been perfected ;
Haydn and Mozart took the " Hopser " and " Deutscher "
into their symphonies, and transformed them in their
delicious menuets ; Weber worked out the valse in his
splendid " Invitation a la Valse ;" Chopin did the same ;
and it may be said that to the fantasia of the pianoforte, as
introduced by Mozart and Beethoven, we owe this new
attribute of orchestral music, the programme overtures of
Mendelssohn. To some persons this conclusion may
seem very far-fetched, but on close examination it may be
found that it contains some grains of truth. In the most
recent times we find another renaissance in the sphere of
orchestral music — namely, the adoption of the " suite."
Franz Lachner, H. Esscr, J. Raff, and others have written
very effective suites, and have in so far improved upon
the original form by setting the different movements in
different keys, thus avoiding a certain monotony. The
" suite " offers to a composer manifold opportunities to
excel — he may show his science, his power of inventing a
good melody ; it allows the introduction of variations, it
admits of the use of the modern dances, as mazurka,
polonaise, tarentella — in short, it is to be wondered that a
form so capable of being utilised in different respects
was not sooner used. True, it is but a renovation, as we
possess in the concerti grossi of Handel, and in the

December i, 1871.] THE MONTHLY MUSICAL RECORD,

159

orchestral suites of Bach, already examples of such a
style. By the application of the whole splendid appa-
ratus a modern orchestra offers, new effects were invented,
so as to obliterate in some degree the older suite of
Handel and Bach ; besides, the conccrti grossi or suites
of Handel were almost forgotten, and only now they are
by the Handel Society of Germany brought again to
light. Bach's beautiful suite in D, although better known,
is yet but seldom playedy and is not very popular. For
these reasons the renovation of the suite by Lachner,
Esser, and others is welcome, and produced a deserved
effect.

Before leaving the subject of Drawing-room Music,
it might not be quite uninteresting to examine somewhat
more closely the older French and Italian authors,
and to follow up in a chronological order the style of
lighter pieces from the eighteenth century till our present
day. Such observations may be left for next Number.

{To be continued)

MENDELSSOHN'S UNPUBLISHED

SYMPHONIES.

From the Programmes of the Crystal Palace Saturday Concerts.)

The MS. unpublished symphonies of Mendelssohn are
twelve in number, and were composed between the years
1820 and 1823. To appreciate these dates we must re-
member that Mendelssohn attained his eleventh year on
the 3rd of February, 1820, and his fourteenth on the 3rd of
February, 1823. It will be interesting to musicians and
to many amateurs, to have a few particulars regarding
these very curious and remarkable compositions of so
young a composer.

No. 1 is in three movements : —

1. No tempo — marked c major.

2. No tc?npo — \ major.

3. Allegro — C major.

It is written for the usual stringed quartett, though with
frequent independent solo parts for the cello in the "middle
movement.

No. 2, also in three movements : —

1. Allegro — D major.

2. Andante dolec — b minor.

3. Allegro vivace — p major.

For quartett as before.

No. 3, also in three movements :—

1. Allegro di molto — e minor.

2. Andante — G major. -

3. Allegro — E minor.

For quartett as before.

None of the above three symphonies have any
date to them.

No. 4 is again in three movements : —

1. Allegro — c minor, with an introduction grave,

added as an after-thought at the end of the
allegro.

2. Andante dolce — C major.

3. Allegro vivace — C minor.

For quartett throughout.

To No. 4adate is prefixed— 5th September, 1821.
No. 5, in three movements : —

1. Allegro vivace — B flat,

2. Andante — E fiat.

3. Presto — B flat.

For quartett.

Dated at commencement 15th September. 1821.
No. 6, in three movements : —

1. Allegro— E flat.

"z.'Mcnuctto — e flat with 2 trios, the first in B major,

fciifc the second in B_flat.

3. Prestissimo — E flat.

For quartett.

A slow movement has been begun before the
minuet, in G minor 2-4, but discontinued at the
7 th bar.

No. 7 is in four movements : — -

1. Allegro in n minor.

2. Andante — D major.

3. Menu el to — D minor.

4. Allegro molto — d minor.

P"or quartett, and not dated.

No. 8, in four movements : —

1. Allegro in D. major ; with introduction adagio c

grave in D minor. This movement for quartett,
begun 6th November, 1822 ; finished 10th No-
vember.

2. Adagio — B minor, for 3 violas and bass.

3. Afenuetto—D major, with trio presto in D minor

or F major. For quartett,

4. Allegro molto, ending phi presto — d major. For

quartett, but with independent part for cello in
last half of movement.

Dated at end 27th November, 1822.

No. 9, in four movements. This is No. 8 re-scored
for full orchestra (without trombones) : —

1. Adagio: allegro. Begun 30th November, 1822;

ended 21st December, 1822.

2. Adagio — scored for 2 bassoons, 1 horn, 3 violas

(all solo), and basses.
Dated at end 21st February, 1823.

3. Menuetto and trio — allegro molto. The trio is

entirely different from that of No. 8.

4. Allegro molto— both these movements for full

orchestra.

No. 10 is in four movements : —

1. Grave in C minor and allegro moderato c in

major— for 2 violins, 2 violas, and bass. 28th
February, 1823.

2. Poco adagio in E major — for 4 violins with episode

for 2 violas, cello, and bass, and conclusion for
all eight instruments.

3. Scherzo in C major for 2 violins, 2 violas, and

bass, with trio piil lento, on a Schweizerlied,
for the same instruments, with cello added.

4. Allegro moderato, c minor, ending presto— for

quintett like the opening movement. 12th
March, 1823.

No. 11. This, like Schubert's No. 8 in the same key,
is unfinished, but (also like that) the fragment is a
masterly one. It consists of the first movement
only — an adagio followed by an allegro, in B
minor, for quintett, as in No. 10. It is dated at
beginning 13th May, 1823, and at end 18th May,
1823, " Ersten Pfingstfeiertag"— the first day of the
Whitsun holidays.

No. 12 is in five movements :—

1. Adagio in F major and allegro in F minor, in-

terrupted near the close by the adagio come
xnicL. For quintett. Begun on 14th June, 1823.

2. Is a Scherzo commodo in n minor, on a Swiss

tune, as in No. 10. This is for quintett as
before, but with triangles, cymbals, and drums
added for the last 54 bars. — The Swiss tunes in
this and No. 10 are doubtless memorials of the
tour in Switzerland which Dcvrient mentions as
having been taken by the Mendelssohn family
in 1822 ; after which, as Devrient also tells us,
Felix was put into jackets and trousers, and had
his hair cut short.
3. Adagio in E fiat.

i6o

THE MONTHLY MUSICAL RECORD.

[December I, 1871.

4. Mejiuetto, allegro moderato, in F minor, and trio

in F major.

5. Allegro molto, F major.— 12th July, 1823. The

three last movements for quintett.

These are all the unpublished symphonies. No. 13 is
that in c minor for full orchestra, usually called " No. I."
(though by its author " No. XIII."), and dated March 3rd
and to March 31, 1824, the autograph of which is in the
library of the Philharmonic Society.

The progress made by the composer during these
thirteen works is unmistakable. The first seven are
small in size and slight in construction, and limited to the
string quartett. But with No. 8 — that is to say, after the
return from the Swiss tour already alluded to — a very
marked development commences. The number and
length of the movements increase ; their form is varied ;
the nuances are greatly multiplied ; from No. 10 the
quintett takes the place of the quartett ; besides which,
experiments in scoring are tried, some of which must be
very effective. The independent cello part — the germ of
a very characteristic feature in Mendelssohn's maturer
works — is conspicuous throughout. The practice of dating
not only the works, but often the beginning and end of
single movements, to which, like Schubert, he was much
addicted, also dates from ihe Swiss tour. Nos. 10 and 12
are of the full dimensions of a modern symphony, and it
is hard to say in what respect the latter is inferior to the
C minor, ordinarily called " No. I.," except in the accident
that it is scored for a quintett of strings instead of for the
full orchestra.

It must not be supposed that these symphonies, and the
numerous other works of Mendelssohn which remain in
manuscript, were written for exercise only. He enjoyed
the advantage seldom afforded to young composers, of
having his works played as soon as they were written. It
was the custom at the house of his father in Berlin to
have a fortnightly orchestral concert on Sunday mornings,
in a large saloon appropriated to the purpose ; and it
would appear that Felix's symphonies and other works
were written for performance at these concerts. * The
nucleus of the orchestra was formed of professional players
from the King's Band, with whom were associated other
artists and amateurs of Berlin, as well as strangers who
happened to be passing through ; for the Matinees were
famous, and the entrde to them was greatly in request.
As a rule the pianoforte solos were played by Felix and
his sister Fanny, but Moscheles, Hummel, Thalberg, and
other artists of the highest eminence occasionally took
part in them. Why the symphonies should in most cases
have been written for strings only is not clear. The fact
that the accompaniments to the manuscript concertos are
also for quartett shows that that was the rule. A note to
the slow movement in E of No. 10 would seem to imply
that the strings were accompanied by the piano, but of
this the writer knows nothing.

It is impossible to consider the long list of symphonies
given above — itself but a portion of a much longer cata-
logue of works all composed by a boy under the age of
fifteen — without being greatly struck. In two respects—
in the quantity he composed and the strict manner in
which he consigned so many of his compositions to
oblivion— Mendelssohn's early life would appear to be
paralleled only by that of Mozart ; and a very instructive
comparison might be drawn between these two great com-
posers, who, with many dissimilarities, had many points
in common ; who had both remarkable fathers ; who both
began serious composition in the nursery ; who were both
as famous for-their playing as for their composition, and
as much beloved for their personal qualities as for their
music ; who both travelled to Paris and London early in

life ; and, alas ! both wore out their slender frames by
over-exertion and excitement, and died before reaching
the prime of life.

Mozart is one of the ancients, but Mendelssohn is of our
own time— one of ourselves. There are probably a dozen
people in this very room to-day* who knew him personally ;
who can still recall the singular fascination of his voice
and face, and charming ways, and who have thrilled
under his inspired playing. His brother was here only a
few weeks ago. It fills one with a kind of wild impatience
to think that but for some trivial, possibly avoidable, cir-
cumstance, he might have lived to the age of Spohr or
Auber, and have been still alive — still visiting England
year after year, with fresh symphonies, fresh oratorios,
fresh concertos ; bringing out the opera that he longed so
ardently to write ; directing our choicest concerts ; writing
the most delightful letters ; welcoming everything that was
good and noble and true ; banishing everything that was
mean or petty or vulgar ; and spreading the charm and
blessing of his presence wherever he went.

This is gone, and it is idle to regret what cannot return.
But much remains. If any man ever left a faithful image
of himself in his works it is Mendelssohn. These remain,
both letters and music. The letters can be read over and
over, the music can be played and listened to better and
better every time ; and when those youthful works which
laid the solid foundation of his greatness shall be rendered
as accessible as those of other eminent composers have
been, and as there is good reason to hope those of Men-
delssohn will shortly be, everything will have been done
for his memory that can be desired by his fondest ad-
mirers. So, at last, we maybe able to understand — as
far as any external aids can help us — the secret of that
beautiful nature, at once brilliant and deep, clever and
good, refined and manly, which is represented to us by
the name of

FELIX MENDELSSOHN-BARTHOLDY:

" Whatsoever things are true, whatsoever things are
honest, whatsoever things are pure, whatsoever things are
lovely, whatsoever things are of good report — if there be
any virtue, and if there be any praise, think on these
things." ■ " G.

— ♦ —

MUSIC IN NORTH GERMANY.

(FROM OUR SPECIAL CORRESPONDENT.)

Leipzig, November, 1871.
Our concert season is in full swing, and after the long
rest of summer we revel how in numerous musical enjoy-
ments. The best and most perfect performances are
offered, as usual, by the Gewandhaus. In the last four
weeks we heard these in the second, third, fourth, fifth, and
sixth of the Subscription Concerts : the E flat major
symphony by Mozart, Eroica by Beethoven, the charming
little B flat major symphony (No. 4) by Gade, Schumann's
third symphony in E flat, a new symphony by J. J. Abert,
Capellmeister at Stuttgart, the overtures to Masaniello
(in remembrance of the deceased Auber), to Leonore
(No. .3) by Beethoven, to Midsummer Night's Dream
by Mendelssohn, to Medea by Bargiel, two marches by
Joseph Joachim, and a scherzo by Goldmarck.

All these works were rendered under the direction of
Reinecke in a most perfect manner, and orchestra per-
formances like the rendering of the Eroica Symphony,
and Midsummer Night's Dream overture, may certainly

* These lines were written for the Mendelssohn Anniversary
Concert of November 4th.

December i, 1871.] THE MONTHLY MUSICAL RECORD.

161

be named as the finest and most perfect which, even in
the Gewandhaus, have been brought to a hearing. Much
as we were delighted by the performance of all the works
named, we cannot conceal that in the new compositions
we find no valuable enrichment "of our concert repertoire.

Nicht alles haben die Cotter Einem gegeben* This
expression of Homer came involuntarily to our mind after
we had listened, in the second concert, to two truly
common-place sounding marches by Joachim, to which
higher impulse is wanting, and which in the instrumenta-
tion and combination are never elevated above the
standard of middling compositions. Of more interest
was the scherzo by Goldmarck, in the fourth concert, which
offered many piquant points, but for all that was not
capable of making a real impression.

The new symphony by Abert, compared with former
works of the composer, cannot be called an advance.
On the contrary, the want of real invention of Abert
shows itself even more than formerly. But, on the other
hand, the working-out and instrumentation is everywhere
masterly. It is really astonishing with what truly logical
adroitness Herr Abert works out a whole long movement
of a symphony (which takes nearly twelve minutes in
playing) from two poor, miserable, almost meaningless
subjects, and with what cleverness the author produces
a well-sounding, well-organised composition, which has
only the one fault (unfortunately a great one) of present-
ing itself to us only as the result of cool reflection, and
for this reason must be ineffective. Only at one single
passage in the whole work, in the principal movement of
the scherzo, the reviving breath of imagination showed
itself, and awakened hopes, which, unfortunately in the
following trio are again destroyed.

The solo performances at the above-named concerts
were presented by Madame Clara Schumann on four
evenings. She played the c minor concerto by Beethoven,
and the piano concerto of her husband, besides solo
pieces by Schubert, Schumann, and a gavotte by Gluck,
arranged for piano by Johannes Brahms, at the third and
fourth Subscription Concerts. Further, on the first evening
for chamber music she played with David and Hegar the
C minor trio by Mendelssohn, and the pianoforte sonata
in A minor by Franz Schubert. The last-named work, it
is true, does not count among the best of the genial
master's, but deserves, at all events, more regard from our
concert pianists than has been bestowed on it hitherto.
At a concert given by Madame Schumann and Madame
Joachim at the Gewandhaus, on the 23rd of October, we
heard the G minor sonata, Op. 22, by Robert Schumann,
prelude (b minor) by Bach, variations (Op. 82) by Men-
delssohn, B major notturno and B flat minor scherzo by
Chopin, and finally with Fraulein Louise Hauffe as co-
performer, Nos. 1, 3, 5, 7, 6 from the Hungarian dances
for piano duet by Johannes Brahms. For all these
performances of Madame Schumann, we only express
our warmest thanks and undivided acknowledgment.

At the second concert, a young, much-gifted violon-
cellist, Herr Ernst Demunk, from Weimar, played an
adagio and allegro, announced on the .programme as
Haydn's, but which surely can only be the production of
one of the pupils of the famous master, which has been
fathered on him. It can hardly be supposed that this
composition might be the work of a weak hour of
Haydn's, because nowhere does a particle of Haydn's
spirit show itself.

Herr Concertmeister Lauterbach, from Dresden, de-
lighted us through the performance of Mendelssohn's
violin concerto. But the most interesting solo perform-

* " Not all have the gods given to one."

ance was a concerto for two violins obligato (Herren
Concertmeister David and Roentgen), violoncello obligato
(Herr Hegar), and string-band by G. F. Handel. David
has lately added to this work a most genial cadence, and
it will doubtless be published here shortly, provided by
him with marks for bowing and performance.

Besides our resident lady-singers, Pescka-Leutner and
Mahlknecht, who sang arias by Beethoven and Mozart,
and songs by Schubert, Schumann, Richard Wagner, and
Lassen, we heard also a singer of truly artistic endowment
— Madame Amalie Joachim, the beautiful and amiable
wife of the famous violinist. Her chaste, sensible, and
impressive manner of singing, as well as the undeniable
advantage of an intonation always pure as gold, correct
pronunciation of the words, and perfect certainty of
mechanism, have always made this lady the declared
favourite of our public, and, as far as she is concerned,
critics may quite lay aside their pens. Of the many-
sidedness of her talent, the selection of the songs rendered
by her during the three evenings give the best proof.
Madame Joachim sang recitative and aria ("Herr
unsre Herzen haltcn dir dein Wort") from the Whitsun-
tide Cantata by J. S. Bach, Aria ("Ah perfido") by
Beethoven, aria from Jephtha by Handel, and songs
by Schubert, Schumann, and Mendelssohn.

Also Herr Ullmann has paid us a visit with his artistes,
and given a concert here which, besides much that was
good, brought also some truly eminent performances to
light. Of much interest it was to us to become acquainted
with the excellent representative of Paganini's school at
this concert — Herr Sivori. Equally were we delighted with
the famous harpist, Herr Carl Oberthiir, Madame Marie
Monbelli, and Friedrich Grutzmacher ; whilst the Floren-
tine Quartett, in playing together with Fraulein Mehlig
(quintett by Schumann), fell far short of their excellent
performances known from former times. Highly dis-
pleased were we with the combination of the programme,
in which with the noblest pearls of our musical literature,
meaningless, insignificant productions of the day were
confusedly thrown together.

Our theatre has brought forward a new opera, Gudrun,
by Aug. Reissmann, which has been laid aside after two
performances. Nothing struck us but the naivete of the
author.

Also in the other towns of Germany, with the month
of November the concert season has come to full bloom,
but we do not know up till now of any particularly dis-
tinguished performances or new appearances.

A very praiseworthy work is the collection of lectures
delivered last year by Professor Ernst Naumann. at the
Victoria Lyceum, at Berlin, which has appeared now
under the title, " Deutsche Tondichter von Sebastian
Bach bis auf die Gegenwart," published by Robert Oppen-
heim. Clear and impartial criticism, just appreciation of
living masters, and profound knowledge of old heroes are
unmistakable advantages of this important work, to
which we wish a very wide circulation.

[*#* Our Vienna correspondent unfortunately still con-
tinues too ill to write his usual letter. — Ed. M. M. R.]

&ebfetos*

Carl Maria von Weber in seincn Werkeu. Chronologisch-thema-
titches Verzeichniss seiner Siimmtlichai Compositionen. Von
F. W. JAhns. (Carl Maria Von Weber in his Works. Chrono-
logical Thematic Catalogue of his Complete Compositions. By
F. W. Jahns). Berlin : Schlesinger.

Weber is one of those composers whose fame in this country rests

l62

THE MONTHLY MUSICAL RECORD.

[December is 1871.

upon a very small fraction of his works. When we have named the
Freischutz, Oberon, a few of his overtures, his Concertstlick, and
some of his piano pieces — we should perhaps add the Mass in G —
we have enumerated all of his music which may be said to be com-
monly known here. Except a few connoisseurs, who knows any-
thing (beyond the overture) of Euryanthc, a work second only to the
Freischutz ? Who knows anything of two of his most characteristic
compositions — the fine Jiibel-Cantata and the Kampf und Sieg?
And his one hundred songs with piano accompaniment — how many
of our readers will become aware of their existence for the first time
on reading this notice?

The explanation may probably be found in the fact that has fre-
quently been noticed by critics, that Weber js essentially a German
composer. That he was endowed with great originality none can
dispute ; there was especially a certain romantic tinge about his mind
which coloured all his music. He was intensely dramatic ; this is
seen even in his instrumental works, such as the well-known Concert-
stuck, which might be described as a scene from an opera without
words. Benedict has preserved for us Weber's own description of
the intention of this work ; and Herr J alms's book gives us a similar
programme, from the lips of the composer's widow, of the "Invita-
tion to the Waltz." But, with all his genius, Weber was not cosmo-
politan, like Mozart or Beethoven ; and his music, as a whole, appeals
to fewer sympathies than those of the masters we have just named.
Still his works will always be interesting to the musician, and Herr
Jahns has furnished a most valuable addition to musical literature in
the very complete and elaborate catalogue now before us.

The book is both in form and arrangement modelled after Kochel's
Catalogue of Mozart's Works ; but it is even more complete, the
notices of the works being fuller, in many cases indeed almost- ex-
haustive. To take one instance : the account of the Freischutz
occupies thirty closely-printed pages of large octavo ; and we cannot
give our readers a better idea of the general scope of the book than
by briefly describing this article. We find first the date of the com-
position ; then the themes of each movement of the opera ; after
which there is a minute description of the autograph. To this suc-
ceeds a list of all the various editions of the work, from the full score
of the whole opera, down to the arrangement of the overture for one
flute ! This list fills three pages of small type, and must have involved
in its preparation an almost incalculable amount of labour. We
next find an elaborate criticism of the work, the history of the libretto,
the history of the music, an account of all the first performances of
importance throughout the world, a list of the various translations of
the text into other languages, and finally eight pages of miscellaneous
information. The notices of Euryanthc and Oberon are scarcely less
elaborate, and occupy twenty-five pages each. Of course the smaller
works are not treated at such length ; but the completeness of the
catalogue will be imagined when we say that it occupies nearly 500
large pages.

The total number of Weber's compositions here enumerated, in-
cluding unpublished compositions, is 309. Among these there are
two masses, nine cantatas, seven operas and large dramatic works,
about thirty smaller pieces for the theatre, including songs, &c, in-
troduced into the works of other composers, between twenty and thirty
part-songs, and about 100 songs. In instrumental music we find two
symphonies, three concert-overtures, fourteen concertos and other
works written for a solo instrument with orchestral accompaniment,
and numerous pieces for the piano, with and without another instru-
ment. It is curious, and perhaps not without significance, as illus-
trating the peculiar character of Weber's genius, that while his
overtures rank among his noblest inspirations, his two symphonies
should be very second-rate, and that of one form of composition in
which nearly all great composers have excelled, we do not meet with
a single example. We refer to the string quartett.

An appendix to the catalogue furnishes a list of Weber's unfinished
compositions, of those that are lost — between seventy and eighty in
all, and mostly unimportant — and, lastly, of those that are doubtful
and spurious. Two carefully prepared indexes render reference to
the entire work very easy ; and eight pages of facsimile show the
composer's handwriting throughout his lifetime. We find various
specimens, commencing with the earliest preserved, written at the age
of six, and concluding with 'the address of a letter written only three
days before his death. Then in music we have a facsimile from the
score of his opera, Das Waldmadchcn (the oldest existing manuscript
of his), and fragments from all his principal works, the latest given
being from the last air written for Oberon. Many of these things are
of course interesting merely as curiosities ; but we mention them as
characteristic illustrations of the intense thoroughness and earnestness
of purpose which pervades the whole book. As an instance of that
minute elaboration of detail, and plodding hard work, in which the
Germans stand alone, Herr Jiihns's book will compare with any simi-
lar compilation ; indeed we know of scarcely one to equal it. We
must not omit to say that the introduction contains, among other
things, an interesting disquisition on the genius of Weber, part of

which, should our space permit, we hope at some future time to pre-
sent to the attention of our readers.

Fifty-eight English Songs, by Composers chiefly of the ijth and 18th
Centuries. Selected and Arranged, with Pianoforte Accompani-
ments, by John Hullah. London : Augener & Co.
This collection of our national music is one of "unusual interest, as it
includes many songs which, though now comparatively unknown,
enjoyed in their day a great and deserved popularity. Being arranged,
as far as practicable, in chronological order, they enable the student
to trace the gradual development of musical art in this country through
a period of nearly two hundred years. The first song in the book
(Henry Lawes's "While I listen to thy voice") bears the date 1653,
and the last (Bishop's "Should he upbraid") was produced in 1821 ;
and nearly, if not quite all the English composers of any eminence
who lived between these dates, are here represented by at least one,
and frequently several specimens of their talent. We find six pieces
by Henry Purcell ; seven by Dr. Arnc, among which is the exquisite
"Water parted from the sea," from Artaxerxes — one of the few
pieces which Charles Lamb, in the " Essays of Elia," while confessing
himself not gifted with much musical feeling, says, ' ' never failed to
move him strangely ;" four of Dibdin's sea-songs, among them, " Did
ye not hear of a jolly young waterman " and " Tom Bowling ; " two by
Jackson of Exeter ; seven by Stephen Storace ; three by William
Shield ; and three by Sir Henry Bishop. Besides these we find such
old favourites as " Drink to me only," " Barbara Allen," " Wapping
Old Stairs," " Oh, Nanny, wilt thou gang with me," ."The Lass of
Richmond Hill," and many others. It will thus be seen that the col-
lection is a particularly rich one ; and its value is not a little enhanced
by the interesting historical preface by the editor, in which a short
notice of the various writers whose compositions are found in the
volume is given. The work is engraved and printed in the same
elegant and beautiful style as the well-known series of octavo classics
issued by Messrs. Augener and Co., and we may safely predict for it
a wide popularity.

Mandcl's System of Music. In Five Parts. London : Boosey & Co.
Herr Mandel, as some of our readers will probably be aware, is
the resident professor at Kncller Hall ; and in a letter to the Duke of
Cambridge, asking for permission to dedicate the work to him, the
author explains that his object in compiling it has been to furnish "a
practical and theoretical course of instruction, intended especially for
the future bandmasters and bandsmen of the British army." For this
purpose it seems well adapted. The first part of the system is devoted
to an explanation of the "First Principles of Music." These are
explained with great clearness ; the writer is occasionally somewha
diffuse, but as the book is intended for self-instruction, too many ex-
planations are certainly preferable to too few. Part 2 is entitled
" Practical Hints," and contains information on the compass of
voices and instruments, on transposition, intervals, time, and the
different ways of beating time, and the construction of a score. Parts
3 and 4 treat of " Harmony," while the fifth part is on "The Theory
and Practice of Inventing a Melody ;" in other words, the composi-
tion of simple music. Here the student will find full details as to the
construction of marches, quadrilles, waltzes, and other forms of
music commonly played by a military band. Were the work intended
as a complete manual of composition for the general student, we
should be forced to pronounce it deficient in several respects ; but it
contains much valuable information clearly expressed ; and by the
class for whom it is intended it will doubtless be found very useful.

Twelve Piano Duets for Players of all Ages. By Robert
Schumann. Op. 85. Edited by E. PAuer. London : Augener
& Co.
These charming and most characteristic productions of Schumann's
genius were composed in the year 1849, at about the same time as a
large portion of his music to Goethe's Faust. The original edition
bears the inscription, "Fur kleine und grosse Kinder" (for great
and small children), and the work may thus be considered a continua-
tion of his well-known " Album for Young People." The entire col-
lection makes less demands on the players than most of Schumann's
music ; and though the twelve numbers are by no means equal in
merit, there is not one which is not full of interest, and will not well
repay study. One of the most beautiful of the series is the ' ' Abend-
lied" (No. 12), probably the best known of all. It is full of that
dreamy romance which is so characteristic of its composer at the best,
and which reminds one of Milton's " Linked sweetness long drawn
£>ut." Not less exquisite, in an entirely different style, is No. 9 (" Am
Springbrunncn ") with its delightful passages of syncopation, and the
episode in B flat, in striking contrast, and yet in charming keeping,
with the character of the principal subject. The three marches (Nos.

December r, .87i.] THE MONTHLY MUSICAL RECORD.

163

1, S, and 7) are all good in different ways— the " Kroatenmarsch ,"
No. 5, being especially remarkable both for its rhythm, and for the
peculiar turns of the melody. • All pianists who have an opportunity
of duet-playing should make themselves acquainted with this interest-
ing work.

The Temple Tune Book. Division I. Old English Tunes to about
1750. Edited by Edward J. Hopkins. London: Metzler &
Co.
The number of new time-books which are constantly being published
is so great, and many of them possess so little to distinguish them
from others, that they in general require but a very brief notice. The
work now before us, however, has special claims on our attention.
The " Temple Tune Book" is to consist of three divisions — the second
and third (which are not yet published) comprising foreign and modern
English tunes respectively. Of the part already issued we are happy
to be able to speak in terms of praise. It contains 164 tunes by
various composers, many of them being entirely new to us. The
old English tunes — ■" Psalter" tunes as they are sometimes called —
are often reproached with a certain amount of stiffness and monotony.
There is a prevalent impression that they are almost confined to the
three metres known as long, common, and short. An inspection of
this book will soon remove this erroneous idea, as there are here
nearly fifty different varieties of metre. The harmonising of the
tunes is simple, musicianly, and thoroughly congregational. We
must not omit to mention that they are printed in " short score," the
cost of the work being thus materially diminished. A valuable and
novel feature of the book is the thematic and historical index which
is prefixed to it — the first line of the melody being given in full, and
an account appended of the source from whence each tune is derived.
Should the promise of Part 1 be fulfilled in Parts 2 and 3, Mr.
Hopkins will have made a valuable addition to our collections of
Psalmody. We shall await with interest the appearance of the rest
of the work.

Zwei Scherzi, fiir Pianoforte, von Franz Schubert (Wien :
J. P. Gotthard), are two more of the posthumous works of this
apparently exhaustless composer. They arc both interesting, but
neither will add anything to their author's reputation. Of the two,
we prefer the second, the trio of which, with its charming five-bar
rhythm, Schubert subsequently transferred to his great sonata in E
flat.

Andante Grazioso, composed for the opening of the great organ
in the Albert Hall, by Edward J. Hopkins (London : Metzler &
Co.), is a very well-written and thoroughly pleasing movement. It
requires a large instrument to do it full justice, and (as may be
inferred from its being composed for Mr. Best) is not particularly
easy to play well ; but it is worth the trouble of practising, and de-
serves the attention of organists.

Happy Thoughts, Two short Pieces for the Piano, by F. E. Glad-
stone (London : Augener & Co.), are two musicianly little pieces,
each in the form of a scherzo and trio. The first, in b minor, some-
what recalls the scherzo of Weber's first sonata. We think the few
bars of introduction prefixed to each might have been omitted with
advantage.

A Night in the Woods, for the Piano, by Albert W. Borst
(Liverpool : Hime & Son), has no very special features.

The only thing to notice in L Etoile du Mer, morceau for the
piano, by Maria Asher (London : Weippert & Co.), is the silly
mixture of French and English in the title.

The Albion Quadrilles, by Charles Coote (London : Morley),
and the Rose of the Alps, Waltz, by W. Meyer Lutz (ditto), are
both, as might be expected from the names of the composers, capital
specimens of dance music.

A Te Deum, and various Choral Hymns, byj. Tilleard (London :
Novello, Ewer, & Co.), are correctly written, and good of their kind.
The melodies are smooth and flowing, though not remarkable for
novelty.

Students' Vocal Exercises for Daily Use, by Bennett Gilbert
(London : W. Czerny), are comprised on one sheet, which contains
a large number of simple exercises, well arranged, the regular prac-
tice of which cannot fail to be beneficial.

Te Deum, by George H. Westbury (London : Novello, Ewer,
& Co.), is a simple yet effective setting. By the judicious alternation
of harmonised and unisonous passages for the choir, the latter being
accompanied in full harmony on the organ, considerable variety is
obtained. The registering of the organ is carefully marked.

Strike the Harp once more, Ballad, by Richard Limpus (Lon-
don : W. Morley), is very pleasing in style, and likely, we think, to
be a favourite.

Happy Subjects. New National Song. Written and composed by
J. T. Wright (Glasgow : Paterson, Sons, & Co.).,LWhat can we say
seriously of a song with such a refrain as —

"Happy, happy subjects, happy, happy they,
Who live in Queen Victoria's day"?

A Smile for every Tear, Romance for a Tenor voice, with obligato
violin, viola, or violoncello, harmonium, and piano accompaniments,
by Bennett Gilbert (London : Schott & Co.), is a very elegant
and pleasing song. The accompaniment, for three instruments, is
both novel and effective ; but the separate viola and violoncello parts
need revision, as there are one or two chords at the end of each
verse which it is simply impossible to play as written. The song is
so good that this slip of the pen is worth correcting. .

At the Spring, Song, by Arthur W. Nicholson (London : J.
Williams), has the merit of containing definite ideas. There are one
or two points about it that we do not altogether like ; but there is a
commendable avoidance of the common-place style of ballad.

MUSIC RECEIVED FOR REVIEW.

Allison, Horton. " Again the Woods with Songs are ringing."

Song. (London : Weeber & Co.)
Avison, C. "The Voyage." Song. (London : Weeber & Co.)
Avison, C. "The Bridge." Song. (London : Weeber & Co.)
D'Alqucn, Frank. " Cuckoo, cuckoo." Song. (London : Wood

&Co.)

Jekyll, C. S. A Communion Service. London : Novello, Ewer,

&Co.)
Lahec,H. "The Blessing of the Children." Sacred Cantata.

(London: The Tonic Sol- Fa Agency.)
Limpus, J?. "Come, pretty Swallow." Ballad. (London : W.

Morley.)

Linlcy, G. "Wedding Chimes." Song. (London: W. Morley.)
Rowley, C.E. Short Offices for Choristers. (No publisher's name.)
Sutton, E. A. "Our God shall come." Anthem. (London:

Novello, Ewer, & Co. )
Sutton, E. A. Three Offertory Sentences. London: Novello,

Ewer, & Co.)

Concerts;, &t.

CRYSTAL PALACE.

On Saturday, Oct. 28th, the performances of Mendelssohn's works
were suspended for once — not one work of that composer being
included in the programme. A very interesting selection was pro-
vided, commencing with Schubert's bright and melodious overture
to Die FreunUe von Salamanca, a comic opera by the poet Mayer-
hofer, a friend of the musician, who supplied the words for many of
his finest songs. The opera was written in the year 1815, Schubert
being at that time eighteen years old ; and the overture, which was
first produced at the Crystal Palace two years since, is one of the
many treasures for the unearthing of which the musical public has to
thank the indefatigable and enthusiastic secretary, Mr. Grove.
Schumann's overture, scherzo, and finale, which is in fact a sym-
phony without a slow movement, was excellently played by the band.
While containing many beauties — especially in the first movement—
we cannot consider it one of its author's best works. The other
instrumental pieces were Mr. Sullivan's clever incidental music to the
Masque (should it not rather be termed " Masquerade ? " ) in the
Merchant of Venice; the entr'acte from Reinecke's King Manfred,
which has been several times previously heard at these concerts, and
is deservedly a favourite ; and Beethoven's overture to Leonora
(No. 2), a work of such beauty and grandeur that had not the third
overture existed, one could hardly have imagined it capable of im-
provement. The comparison of the two versions is highly inte-
resting to the musician, but we cannot now enter upon it. There
was no instrumental soloist at this concert ; the vocalists were
Mdme. Conneau and Signor Danieli.

The 4th of November being the anniversary of Mendelssohn's
death, the entire programme on that afternoon was selected from his
compositions. The concert opened with two manuscript movements
from early and unpublished symphonies, the scores of which, by the
kindness of the composer's family, had been lent to the directors of
these concerts for this purpose. The first of the two pieces was the
introduction and allegro from a symphony in D for full orchestra,
bearing date Dec. 21st, 1822, and written consequently before Men-
delssohn had reached his fourteenth year. Though showing but

164

THE MONTHLY MUSICAL RECORD. [December 1, ,871.

few traces of his subsequent individuality, and clearly manifesting
the influence of his predecessors, especially Mozart, the piece is a
perfect marvel as the production of a mere child, whether as regards
mastery of form or command of the orchestra. The other move-
ment—an adagio for strings only, composed four months later — ■
pleased us much less. Indeed, to tell the truth, we thought it,
though undoubtedly clever, decidedly dry. The great symphony in
A (the " Italian") was played to absolute perfection by the orchestra ;
the final saltarello being taken at a tremendous pace, and yet with
the most wonderful precision and finish. Two movements from the
quartett in F minor (not, we consider, by any means one of Men-
delssohn's best) were played by all the strings of the orchestra, and
the concert concluded with the splendid overture \oAthalie. Mdme.
Goddard gave a remarkable rendering of the well-known concerto in
G minor, her superb playing of the finale being especially note-
worthy. She also played an admirably chosen selection from the
"Lieder ohne Worte," taking one from each of the eight books.
How well they were played it is superfluous to say. Mr. Sims
Reeves, who, fortunately for the frequenters of these concerts, very
rarely disappoints them when announced to appear there, sang the
air "Be thou faithful unto death," from St. Paul, the violoncello
obligato being excellently played by Mr. Robert Reed, and two
songs with piano accompaniment played by Mdme. Goddard ; and
Mdme. Blanche Cole sang the air "Jerusalem" from St. Paul, and
the ballad " The flowers are ringing" from the Son and Stranger.

The concert of November the nth opened with G. A. Macfarren's
clever overture to Romeo and Juliet, which was performed for the
first time at these concerts. The symphony was Beethoven's No. 2,
in D — a work often performed, but ever welcome, and which is so
well known that criticism would be superfluous. The solo instru-
mentalist on this occasion was Dr. Stainer, who in Mendelssohn's
sixth organ sonata, and in Bach's prelude and fugue in c major,
confirmed the high opinion of his abilities formed by those who
had had the opportunity of hearing him previously at these con-
certs. Mendelssohn's sonata, the last in order both in publication
and composition of the set of six, though less frequently played in
public than its companions in F minor and B flat, is by no means infe-
rior in merit to either. In the variations on the chorale ' ' Vater unser, "
one is at a loss whether to admire more the beauty of the invention,
or the skill of the treatment. The lovely andante which forms the
finale of the sonata recalls in its opening phrase the well-known
' ' O rest in the Lord "> of Elijah. The bold experiment of con-
cluding the work with a movement of a very tranquil character was
one which Mendelssohn had already tried with no less success in
his sonata in A. The vocalists were Mdlle. Colombo and Signor
Foli, both well-known and thoroughly competen artistes. A very
good performance of Mendelssohn's overture to Melusina brought
this interesting concert to a close.

The first piece in the concert of November 18th was an overture to
Endymion, by Miss Alice Mary Smith. As the composer is, we be-
lieve, an amateur, we will only say about the piece that we think she
may consider herself exceptionally fortunate to have had the chance
of hearing her work played at these concerts. An overture in D,
by Haydn, was performed for the first time in England. It is a
small and comparatively trivial work, in form resembling the
finales of many of the same composer's symphonies— very pleasing,
but one that will add nothing to its author's reputation. The
principal part of the concert was occupied by a capital performance
of Mendelssohn's Lobgesang. The solo parts were sustained by
Miss Sophie Lowe, Mdlle. Vinta, and Mr. Sims Reeves. The
Crystal Palace Choir, as at the previous performance of the
Walpurgis Night, showed a great improvement on previous sea-
sons. The opening symphony was admirably played, but suffered
from the substitution of cornets for the trumpets indicated in the
score. As the latter instruments have been in constant use at
recent concerts, the change was much to be regretted.

As the concert of the 25th took place just at the time of our
going to press, we can only record the fact that the programme
included Mozart's Jupiter symphony, Sir W. S. Bennett's overture
to the May Queen, Mendelssohn's overture to Ruy Bias, and the
same composer's second piano concerto in D minor, played by Mr.
Charles Halle.

MONDAY POPULAR CONCERTS.

These excellent performances were resumed for the present season
at St. James's Hall, on the 13th ult. As the concerts which have
already taken place have comprised only well-known works, ren-
dered by equally well-known performers, it is needless to do more
than briefly mention what has been done.

The opening concert included Schubert's quartett for strings in A
minor, led by Mdme. Norman-Ne'ruda, Beethoven's thirty-two varia-
tions on an original theme in c minor, very finely pjayed by Mdme.

Goddard, Dussek's lovely sonata in B flat, by Mdmes. Goddard and
Norman-Ne'ruda, the tuneful rondo of which was encored, and
Mendelssohn's trio in C minor, in which the two ladies were joined
by Signor Piatti. Mr. Sims Reeves was the vocalist, and Sir
Julius Benedict the conductor.

At the second concert on the 20th, Mr. Charles Halle" was the
pianist, and played Schubert's sonata in A minor (which seems to
be a special favourite of his — and no wonder), and with Mdme.
Norman-Neruda, the great piano and violin sonata, in A of Mozart.
The pieces for strings were Mendelssohn's first quartett in E flat,
and Beethoven's serenade trio.

The pieces announced for the third concert (on the 27th) were
Mozart's clarinet-quintett, Haydn's quartett in D minor, Op. 76,
Schubert's fantasia sonata, Op. 78 (Mdme. Goddard), and Mozart's
sonata in F for piano and violin. It will be seen from this short
abstract that these admirable concerts fully maintain their character.

ORATORIO CONCERTS.

Mr. Barnby's excellent choir commenced their fourth season of
concerts on the 15th ult. The chorus has been considerably en-
larged, and the performances this season take place in Exeter Hall,
instead of, as formerly, in St. James's Hall. The work selected
for the opening concert was Handel's Jephlha, for the revival of
which two years since, after many years of neglect, the thanks of
musicians are heartily due to the conductor of these concerts.
Jcphtha, as many of our readers will be aware, was the last of the
long series of Handel's oratorios, and was composed in the year
1751. Though the musician was then in his sixty-seventh year, the
work not only shows no diminution of power, but evidences a dis-
position to break into new tracks. This is particularly observable in
the free orchestral accompaniment of some of the choruses, espe-
cially of the grand one "In glory high." It is true that florid
accompaniments are to be met with in his earlier works, but
hardly in so sustained and continuous a manner as in some passages
in Jephtha. The whole part of Iphis, again (the absurdly unsuit-
able name which the author of the libretto has given to Jephtha's
daughter), is full of tenderness and beauty, alike in the cheerful joy
of the early portions (for instance "The smiling dawn of happy
days," and " Tune the soft melodious lute ") and in the resignation
of the "Happy they," and " Farewell, ye limpid streams." The
part of the hero is well known as one of Handel's finest tenor parts ;
and many of the choruses, such as " When his loud voice," "In
glory high," "How dark, O Lord," and "Theme sublime," are
equal in grandeur to anything he has written. The solo parts were
efficiently sustained by Mdme. Cora de Wilhorst, Miss Julia Elton,
Mr. Winn, and last, but by no means least, Mr. Sims Reeves, whom
in this particular work no one now before the public could pro-
bably replace with effect. But why did he omit the magni-
ficent bravura song " His mighty arm" ? It is quite as fine as " The
enemy said " in Israel, and would, we doubt not, have produced as
great an effect. The choruses were excellently sung, and the
orchestral performance was all that could be desired. Mr. Sulli-
van's additional accompaniments are in general very judicious,
though we cannot but think there is a tendency to overload the
choruses with brass and drums. Mr. Docker presided at the organ,
and Mr. Barnby conducted, as usual.

MR. HENRY HOLMES'S MUSICAL EVENINGS.
We are glad to find that the success of these most enjoyable per-
formances has been such as to induce their director to continue them
during the present season. Mr. Holmes himself is well known as
one of our best exponents of classical chamber music, and as his
quartett of strings always consists of the same performers — his
coadjutors being Messrs. Folkes and Burnett and Signor Pezze— a
finish and perfection are obtained in ensemble playing, which could
be gained in no other way. These concerts, too, have another merit :
the programmes comprise not merely the ordinary stock pieces, but
many works which are seldom heard elsewhere. Three of these
musical evenings have already been held.

At the first, on the 25th of October, the concert opened with
Haydn's lovely quartett in F, Op. 77, No. 2 — one of the composer's
latest and most highly-finished works — and concluded with Men-
delssohn's quartett in E minor. The scheme of these performances
always includes one piece with piano. The work selected on this
occasion was Brahms's highly-interesting though diffuse quartett in
A, Op. 26. The very difficult piano part was played in a masterly
manner by Mr. W. H. Holmes. Mr. Henry Holmes performed two
violin solos by Tartini, and Miss Purdy was the vocalist.

At the second concert (Nov. 8th), the quartetts were Schubert's in
A minor, Op. 29, and Mendelssohn's in D major — perhaps the most
showy and brilliant that he has written. Mr. Walter Macfarren was

December i, i87i.] THE MONTHLY MUSICAL RECORD.

165

the pianist, who besides joining Messrs. Holmes and Pezze in Sir
W. S. Bennett's chamber trio in A, performed very effectively
Beethoven's fantasia, Op. 77. Madame Osborne Williams con-
tributed two songs.

The third concert (Nov. 22nd) commenced with Mozart's quartett
in E fiat, No. 4. Miss Rebecca Jewell, who was the vocalist, de-
serves a word of praise for bringing forward two of the most beauti-
ful though seldom heard numbers of Schubert's Winterreise.
Beethoven's sonata in A, Op. 69, for pianoforte and violoncello,
was capitally played by Mr. Dannreuther and Signor Pezze. The
last item of the concert was the third of Beethoven's ' ' Rasumowsky "
quartetts — the one in C with the fugue. The remaining concerts of
the series promise to fully equal in interest those already given.

MONTHLY POPULAR CONCERTS, BRIXTON.

THE second concert of the present series, which took place on the
14th ult., was fully equal in every way to the first. The programme
was one of unusual interest. The first piece was Haydn's piano
trio inc, No. 18, a very seldom heard but most genial work, which
was capitally played by Messrs. Ridley Prentice, Henry Holmes,
and Pezze, and thoroughly enjoyed. Schumann's sonata in A minor,
Op. 105, for piano and violin was excellently played, and the
allegretto encored. Mr. Prentice did well in reviving Woelfl's
introduction, fugue and sonata in c minor, one of the best of its
author's works, and which we consider far superior to the more
popular " Neplus ultra." Among other items of the concert must be
mentioned a sonata for violoncello by Boccherini, performed by
Signor Pezze, and Bennett's trio in A major, which seems to be
much in request, and which, as is well known, is a very pleasing and
charming composition. The vocalists were Mdme. Poole and Mr.
W. H. Hillier.

CLASSICAL CONCERTS, STOKE NEWINGTON.

Mr. W. H. Monk, the well-known organist of King's College, has
commenced a series of four concerts in the Assembly Rooms, Stoke
Newington, on the same plan as the Monday Popular Concerts.
The first of these took place on the 20th ult., and if the performance
may be taken as a sample of what may be expected on future even-
ings (which we see no reason to doubt), the enterprise deserves the
warmest support of the residents in the north of London. The
instrumental pieces at the first concert were Spohr's quartett in G
minor, Chopin's polonaise for piano and violoncello, two sketches
for piano solo by Mendelssohn, and the same composer's piano
quartett in F minor. All these works were excellently performed, as
will be readily imagined when we say that the players were Miss
Kate Roberts and Messrs. Henry Holmes, J. B. Zerbini, R. Bla-
grove, and Pettit. The instrumental works were interspersed with
vocal music by Miss Katharine Poyntz and Mr. Winn.

For the second concert, on the 12th inst., besides a quartett of
Haydn's, and Schumann's piano quintett, a new manuscript sonata
or piano and violin by Mr. G. A. Macfarren is announced.

ittitffral &ot*S,

The Sacred Harmonic Society gave its first performance this
season at Exeter Hall, on the 24th ult. The work selected for the
occasion was Israel in Egypt.

A series of performances of Italian opera has taken place during
the past month at Covent Garden. As there has been no special
novelty either in the works brought forward, or in the artistes who
hare appeared, there is no necessity to do more than mention the
fact.

The North London Philharmonic Society gave a concert on the
6th ult., at the Royal Free Hospital, Gray's Inn Road, for the amuse-
ment of the inmates. A well-selected programme, including among
other pieces the overtures to Oberon and the Cheval de Bronte, was
performed by an orchestra of about fifty performers.

College of Musicians.— The first soiree of the season took
place at Shaftesbury Hall, under the direction of Mr. W. C. Filby,
choral conductor of the college. The reader was the Rev. W. h!
Druce, who gave a clever exposi of cathedral music and its com-
posers. The artistes who assisted were Herr Otto Booth, Mr.
George Vigay, Mr. Albert James, Miss M. Carter, and Mr. Herbert
Carter; Herr Booth especially delighting the audience with his
brilliant and finished style. The room was well filled with a critical

and influential audience. We are pleased to find that these soire'es
are becoming a source of attraction.

The Report of the twenty-ninth season of the New York Phil-
harmonic Society lies before us. The programmes show an amount
of research and enterprise only to be paralleled by our own Crystal
Palace Concerts. Nine symphonies were performed, including
Rubinstein's "Ocean," and Liszt's "Tasso;" eleven overtures,
amongwhichwereGoldmark's&z/fcj/rcfo/a, BzrgieVs Medea, Reinecke's
Aladdin, Gade's Im Hochland, and. Berlioz's Carnival Rotnain ;
and five concertos, two of these being Liszt's No. 2 and Rubin-
stein's No. 4.

The Rev. H. R. Haweis' essays on "Music and Morals," most
of which originally appeared in the Contemporary Review, have just
been published in one volume.

The following advertisement, which recently appeared in one of the
daily papers, is so suggestive that we reprint it without note or com-
ment: ''Wanted, a lady accompanist, who can also sing soprano
parts of duets, &c. , effectively. Must be familiar with German and
Italian operatic and classical music, also a good sight reader. Terms
for one attendance weekly, from about eight to eleven in the evening,
£2 2S. to ^3 3s. per quarter (!) according to arrangement. None
but those thoroughly competent need apply. Address," &c.

We are sorry to have to announce the death of Mr. Isaac Collins,
for many years leader of the second violins in the Crystal Palace
Band. Mr. Collins was the father of Mr. Viotti Collins, the well-
known violinist, and of the late Mr. George Collins, the violoncello
player.

TO CORRESPONDENTS.

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The Editor cannot undertake to return Rejected Communica-
tions.

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2 tile and Contents of Monthly Musical Record for 1871
■will be issued with January Number, 1872.

JOHN HULLAH.

FlFTY-KIGHT ENGLISH SONGS,

By Composers chiefly of the Seventeenth and Eighteenth Centuries.

SELECTED AND ARRANGED, WITH PIANOFORTE

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